Strauss I Bratislava and Many of Them Are Winners of International Competitions and Active Both As Soloists and Chamber Music Players

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Slovak Sinfonietta of Z˘ilina DDD The Slovak Sinfonietta of Z˘ilina is one of the best known professional orchestras in Eastern Europe and holds a very important position in Slovak musical culture. It was founded in 1974 as the only “Mozart-style” orchestra in Johann 8.225281 Slovakia. Since then the orchestra has attained a prominent position in both the Czech Republic and Slovakia as well as considerable international renown. In the course of its activities over 30 years the orchestra has enjoyed an intensive artistic life. Its 35 members are mainly graduates of the Academies of Music in Prague, Brno and Strauss I Bratislava and many of them are winners of international competitions and active both as soloists and chamber music players. The quality of the players together with the experience and musicianship of the founding musical director and conductor Eduard Fischer (1930-1993) brought about the quick artistic growth of the orchestra. Already in 1977 the orchestra had won international recognition when it was invited to the Salzburg Festival and Edition • Vol. 5 designated the official orchestra of that prestigious festival. Soon after there followed appearances at the Prague Spring and major festivals throughout Europe, including the Vienna Festwochen, Spring Festival and the Haydn Festival in Vienna. Only three orchestras visit these Viennese festivals regularly every year, the Vienna Slovak Sinfonietta Z˘ilina • Christian Pollack Philharmonic, the Berlin Philharmonic and the Slovak Sinfonietta. The orchestra has been a guest of many other important festivals in Germany, Belgium, France, Spain, Italy, Bulgaria, Poland, and Brazil, in addition to concert engagements in Great Britain, Japan, Russia, Hungary, Finland, Sweden, Holland, Tunisia, Cyprus and the United States. The Slovak Sinfonietta is a small symphony orchestra, but has a very broad repertoire of baroque, classical, early romantic, and twentieth-century works. The orchestra has a natural affinity with the rich Slavic music of its cultural heritage. There has been collaboration with distinguished conductors and soloists and a number of acclaimed recordings. The music director of the orchestra from 1995 to 2001 was Leos˘ Svárovsk7. Since 2004 the music director has been Oliver von Dohnányi. The chief conductor emeritus is Tsugio Maeda from Japan. Christian Pollack The Austrian conductor Christian Pollack was born in Vienna and studied violin, viola, piano and composition at the Conservatory and Musikhochschule in Vienna. He had his training as a conductor with Hans Swarowsky in Vienna and Sergiu Celibidache in Munich. His début was in 1971 at the theatre of Regensburg, followed by further appointments in Aachen, Klagenfurt, Vienna, Lucerne and the Bregenz Festival. He has appeared as a guest-conductor with the Baden-Baden Radio Orchestra, and in the opera houses of Nuremberg, Essen and Vienna (Volksoper). Since 1995 he has been musical director of the opera class at the Vienna Conservatory and since September 2002 also chief conductor of the Z˘ilina Chamber Orchestra in Slovakia. For the Naxos and Marco Polo labels he has made a number of recordings of classical Viennese music, notably the work of the Strauss family, Ziehrer, Suppé and Komzák with the orchestras of Košice, Bratislava and Z˘ilina.

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Johann Strauss Snr • Edition • Vol. 5 first performance seems to have been 1832. This is also indicated by the fact that in the orchestral material there is 1 Contredanses par Jean Strauss, Œuvre 44 a part for a third violin, instead of a viola. It was almost certainly the publisher Tobias Haslinger, who gave the title of the Contredanses and the composer’s This lively work is not of great importance. It can be assumed that Tobias Haslinger, in view of the quantity of name in French, announcing the publication in the Wiener Zeitung on 20th April 1831. In this work, Johann Strauss galops from various contemporary composers and composer-conductors, had rejected its publication. turned for the first time to the form of the French quadrille, marking the six parts of the works Pantalon, Eté, La Poule, Pastourelle and Finale (Pantalon, Summer, The Hen, Pastorale, Finale). In 1833 Joseph Lanner followed with his # Tivoli-Freudenfest-Tänze. Op. 45 (Tivoli Festival Dances) Quadrille française, Op. 68. Dedicated to Her Imperial and Royal Highness Sophie Friederike, Archduchess of Austria, née Princess of Strauss took the melodies of his Contredanses from actual operas that particularly interested the Viennese Bavaria, with deepest respect. public at that time. At this time Rossini’s music was to be heard and for the first time Strauss used melodies from The Tivoli Festival Dances were first performed at the first ball that Johann Strauss directed at the Green Hill the comic opera Fra Diavolo by Daniel-François-Esprit Auber, which had had its first performance in January 1830 Tivoli establishment. This ball was advertised for May 1831 but had to be moved to June because of unfavourable at the Paris Opéra-comique, followed by a staging at the Vienna Imperial Court Opera Theatre at the Kärntnerthor weather. The editions for piano, for violin and piano, and for three violins and bass were advertised for the first on 18th September 1830. time on 9th July 1831 in the Wiener Zeitung by Tobias Haslinger. The new Strauss waltzes quickly became known, The first French quadrilles that Strauss wrote were not, then, after his Paris concerts of 1839 and his meeting as the Tivoli attracted many visitors in 1831. Among these were Archduke Franz Carl and his wife Sophie with the conductor Philippe Musard (1793-1859), when he was significantly influenced by the Paris quadrilles for Friederike, who had become particularly popular with the birth of a son on 18th August 1830, the future successor which the French composer drew largely on operatic melodies, the inspiration for his own masterly figure dances in to the throne, Franz Joseph. It is easily understandable that Strauss should dedicate his new waltz to the his Vienna Carnival Quadrille, Op. 124. Archduchess. The Tivoli Festival Dances are very interesting. In the fortissimo note from the whole orchestra can be 2 Benefice-Walzer, Op. 33 (performed at the Sperl) understood the invitation ‘Look at this!’ and the following semiquavers of the bass instruments as the rolling of the 1830 seemed to be a generally favourable year for the Viennese. The disadvantages experienced in the Austrian two-seated sliding carriages. These references were certainly understood by music-lovers, as the slide down the Empire through the Napoleonic wars between 1802 and 1815 that had led to the financial reform and the rigorous gentle slope was still popular. The young Fryderyk Chopin could not avoid the charm of this attraction. In July depreciation of the currency in 1811 had been surmounted. Above all, the people of Vienna looked forward to a 1831 he wrote to his family: ‘St Veit is a pretty village, but I cannot say the same of the so-called Tivoli, where decade of relative prosperity. Philipp Fahrbach (1815-1885) in his Alt-Wiener Erinnerungen* (Memories of Old there is a kind of carousel, or rather a slide with carriages that they call “Rutsch” here. A stupid thing...Later, Vienna) wrote: ‘Public life was at that time still very prosperous, food was cheap and one could eat and drink when we began to go down, I changed from being a fervent Saul, a critic of this silly Viennese business, into an enough with one Zwanziger. Business and trade were flourishing, looms were working, factory-owners and enthusiastic Paul.’ wholesale dealers prospered, forming a minor aristocracy, indulging in luxury to their hearts’ content’. Later In the following years the appeal of Tivoli gradually declined. From 1834 Johann Strauss no longer played at popular songs in Vienna sang of this as the ‘golden, golden age’. The brilliance of this mood shines also in the the Green Hill and the establishment went downhill. In 1844 it was changed by the Tyrolese Franz Lechner into a melodies of the Benefit Waltz that Strauss wrote for the first of his own balls in carnival 1830, first performed at the dairy-farm. The younger Johnn Strauss played there, while the music pavilion was still standing. The Tivoli Sperl on 16th February. It was, however, a simple work without an introduction, but in the five sections and the Festival Dances were the last new compositions of the older Johnn Strauss to be heard at the Tivoli. extensive coda, Strauss offered lively, charming melodies, cleverly and carefully combined. Particularly attractive were the trills in No. 4, offering an unusually effective ending to the stretta of the cheerful waltz. There were no Franz Mailer press reports of this ball, but the success of the work must have been considerable, as it was often performed and English version by Keith Anderson very quickly appeared, on 4th March 1830, in Tobias Haslinger’s imprint. Strauss provided no further novelty for carnival 1830. About two weeks after his Benefit Ball, on the night of 28th February/1st March the Danube, blocked by ice in the unusually cold winter, overflowed its banks and flooded Leopoldstadt, on an island in the river. The theatre in Leopoldstadt and the Sperl were shut, and many houses could only be reached by boat. Strauss’s family was forced out of its house and had to take refuge in temporary quarters. Some time in 1830 Johann Strauss and Joseph Lanner, for the moment the best of friends, moved into shared quarters with a landlady called Anna Zinagl, who also provided lodgings for girls who had come to Vienna from the provinces, among them a certain Emilie Trampusch from Saatz. Whether Johann Strauss met Emilie then is uncertain, but she became his friend, wrecking his marriage with Anna Streim, and the mother of eight children whose paternity Strauss did not deny. The cheerful Benefit Waltz was followed by a series of disasters, so disturbed was life in 1830 in Vienna, in the not so ‘golden, golden time’. * ed. Max Singer, Saturn-Verlag, Vienna, 1935. Music for the repertoire recorded on this CD is available for hire at Musikverlag Doblinger, Vienna The editions used on this recording are from the Christian Pollack Archive 8.225281 2 7 8.225281 225281bk USA 12/8/04 9:52 pm Page 6

shows no new waltzes are brought out. 3 Bayaderen-Galoppe, Op. 52 (Bayaderes Galop) The composers of our period would find it difficult to present a counterpart to the Wiener Damen-Toilette- Lieblings-Galoppe, Nr. 36 (Favourite Galop No. 36) Walzer, since the new work by Johann Strauss was original and of value. A lively introduction (Andante) is Strauss took immediate advantage of the success of the opera Brahma und die Bayadere, staged in February 1832 followed by a four-bar Allegro that leads off into the first waltz. As with the later, famous Summer Night’s Dream at the Imperial Court Opera Theatre at the Kärntnerthor, with his Bayaderen-Galoppe issued by Tobias Haslinger Waltz, Op. 180, of 1845, the violins start this section with pizzicato octaves and first, after twenty bars that are on 3rd March 1832 and then with his Bayaderen-Walzer, Op. 53, announced on 19th May 1832 in the Wiener repeated, comes a lively motif in 6/8. This will remind an experienced listener of the first waltz section of Carl Zeitung. Maria von Weber’s Invitation to the Dance, that eleven years earlier had taken by storm not dance-halls but Both compositions soon disappeared from the Vienna dance-orchestra repertoire, but the Bayaderen-Galoppe, concert-halls. Whimsical and lively, the first halves of the fourth waltz section provide a strong contrast and in the the popularity of which the efficient Tobias Haslinger advertised on the title-page of his edition of the work, was coda Strauss surprises us with a longer Ländler motif, before the recapitulation of the first waltz leads to a lively well attested in carnival 1832. This effective work, after an introduction of four bars, continues immediately with conclusion. With the Wiener Damen-Toilette-Walzer Strauss created an interesting development in Vienna dance two eight-bar sections with two trios, and is completed by a sixteen-bar finale, forcing the couples to race across the music. Through such innovations the waltz was on the road to world fame. dance-floor. Johann Strauss understood from the first day of his work as a conductor how to draw the dancers into his spell and inspire them with the almost demonic power of his musicians. ! Der Raub der Sabinerinnen, Charakteristisches Tongemälde, Op. 43 (The Rape of the Sabine Women, Characteristic Tone Picture) Including: Entrance March, Abduction Galop, Reconciliation Waltz 4 Gute Meinung für Tanzlust, Walzer, Op. 34 (Good Opinion for the Pleasure of the Dance, Waltz) The characteristic tone-picture The Rape of the Sabine Women surprised the public at its first performance on 8th Johann Strauss composed his waltz Gute Meinung für Tanzlust in the carnival of 1830, when he was able to perform February 1831 at the Strauss benefit ball at the Sperl. People expected a new waltz for the evening, as was the rule dance music at the Sperl for the first time. It was in this popular place in carnival 1830 that the work had its first at Strauss balls. Strauss, however, did not follow the rules, even though he had introduced them himself. performance. A ‘characteristic tone-picture’, however, that consisted of a march, a galop and a six-section waltz with When the publisher Tobias Haslinger announced the waltz in the Wiener Zeitung on 18th September 1830, the introduction and coda, had not been expected by anyone. The designer of the title-page was also surprised. He Allgemeine Musikalische Anzeiger wrote: ‘The public has expressed its good opinion of the work so decidedly, that showed a ball-room with dancing couples, with no open reference to abducting Romans and raped Sabine women. we too cherish the opinion that the publisher will do well with it.’ The tone-picture was only partly suitable for the dance-hall. Marches were seldom danced. Only the six This presentiment was certainly justified, as the waltz is among the most interesting compositions of the Reconciliation Waltzes were suitable for a ball. These, however, enticed rather than obliged couples to dance. The 26-year-old conductor. After an eight-bar introduction, Strauss presents five numbers with decidedly Viennese first waltz starts coaxingly, then follows, though, a commanding motif that automatically suggests the melodies that would become the pattern of later waltz compositions. Ten years later the composer and writer rape. The very extended coda signals a reconciliation after the abduction. The Sabine women had no objection to Richard Heuberger passed his own judgement on the Viennese element in new dance tunes: ‘People recognised in taking on a dominant position in a Rome without women. these dance-tunes their own characteristics and happily welcomed in them themselves.’ On the origin of the work and the reception by a surprised public Philipp Fahrbach, then flautist in the orchestra Johann Strauss’s new waltz was an accurate expression of the mood of the time. The 1830s were a period of and Johann Strauss’s assistant, reported: ‘One day before the announced ball he called me in to help him. The ball joie de vivre, and of pleasure in dancing in the carnival season. Johann Strauss and his friend and competitor Joseph began at eight o’clock in the evening, but Strauss and I sat until eleven o’clock at night at the writing-table. Finally Lanner had such dominance over the musical life of the imperial capital that Fryderyk Chopin, during his stay in we appeared at half past eleven in the orchestra. The notes were covered in sand - any rehearsal was out, the tone- Vienna, complained bitterly that Vienna publishers almost only issued waltzes and other dance-tunes. This picture was sight-read. But – mirabile dictu – there was not a single mistake in the parts. Although the performance judgement was certainly true, since when the leading Vienna publisher Tobias Haslinger issued Franz Schubert’s in spite of all routine went well enough, the approval that Strauss received was enormous.’ Winterreise and Chopin’s Opus 2, it was dance-tunes that were decisive for the survival of his company. It would The tone-picture, then, had pleased the public. The reviews in the newspapers were also positive. Many critics, be years until the importance of the two gifted composers Schubert and Chopin was recognised and acknowledged. however, took offence at the title. Rape and abduction seemed unsuitable for a cheerful dance celebration. The 1830 was certainly a year in which pleasure in the dance was dominant. disapproval soon subsided. Strauss had a novelty again, he had taken a gamble and turned up trumps. 5 Contratänze, Op. 54 (Contredanses) (performed at the court balls in Vienna) @ Das Fest der Handwerker, Galopp (ohne Op.) (The Craftsmen’s Festival) Dedicated in deepest respect to Her Royal Highness Maria Theresia, Duchess of Lucca, etc., etc. The farce Das Fest der Handwerker (The Craftsmen’s Festival) by Louis Angely was first performed on 12th June That Johann Strauss’s Contredanses were played at the court balls in carnival 1832 by Strauss himself was 1832 at the Theater an der Wien. Johann Nestroy took the part of the clownish Viennese tinsmith and appeared in advertised by Tobias Haslinger on the title-page of the first edition of the work, announced in the Wiener Zeitung this rôle until 1856. The farce continued still longer on the Vienna stage. on 10th July 1832. The work was evidently also played at balls at the Sperl in Leopoldstadt and in the Dommayer Johann Strauss took the immediate opportunity of writing a galop with the title of the farce. Whether he made Casino in the distant suburb of Hietzing. It became well known and popular. use of incidental music from the play is not known, since the play-bill of the first performance did not give the name Contredanses were modelled on the pattern of the six-part French quadrille. They have the titles Pantalon, of a composer. The galop did not appear in print, but the score and orchestral parts are preserved in the Vienna City L’Eté (Summer), La Poule (The Hen), La Trénis, Pastorelle (Pastoral) and Finale. Johann Strauss here anticipated and District Library. As they are found together with the material of the Bayadere Galop, Op. 52, the date of the the later quadrilles he would come to know in Paris in 1837.

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These contredanses in the form of the French quadrille were particularly welcomed by dancing masters. How 8 Tivoli Rutsch-Walzer [Op. 39] (Tivoli Slide Waltz) (Vienna Tivoli Music, Vol. 2) to dance a waltz or galop could be grasped by dancers at least after their first visit to a ball. They had to learn, The luxurious Tivoli establishment on the Green Hill at Obermeidling offered visitors a special attraction. Down however, how to dance the figures of a quadrille, and at balls the master of ceremonies could control and supervise the gentle slope from twelve to sixteen light, comfortable, elegant two-seated carriages ran on four tracks. As the the performance of quadrilles. If quadrilles were danced, the master of ceremonies was indispensable. Their Theaterzeitung declared, the carriages, gliding in this way, reached such a speed that the passengers imagined they enthusiasm for cotillons (quadrilles) was therefore understandable. In this way they became allies of the ever more were flying through the air. The introduction of such slides had come from Russia to Berlin and then to Vienna. The popular composer and conductor Johann Strauss. Tivoli was also run by the Berlin company Gericke and Wagner. For some summers the establishment remained in fashion and attracted many visitors. 6 Souvenir de Baden (Helenen-Walzer), Op. 38 The managers of the business did not confine their attentions only to the slide. In the summer of 1830 they The spa town of Baden, near Vienna, was in the 1830s the preferred summer residence of the ‘good’ Emperor Franz I. engaged Johann Strauss and the military bandmaster Joseph Resnitschek with their musicians. On 4th October the In consequence many members of the nobility and the bourgeoisie also stayed in Baden. Naturally there were also name-day of Emperor Franz I was celebrated. As more than six thousand visitors attended, the festival was repeated the spa visitors, since the sulphur springs were then again in fashion. Baden was full in the summer months. on 9th October. On this occasion Johann Strauss gave the first performance of his new Tivoli Slide Waltz. In the It was only a logical consequence that the two leading conductors in Vienna, Johann Strauss and Joseph eight introductory bars of the work Strauss tried to characterize the downward roll of the carriages by descending Lanner, performed in Baden. Joseph Lanner played during the summer at Zum schwarzen Adler (The Black Eagle) thirds. He used something similar in the second waltz section and in the first thirteen bars of the coda. and at the Redoute. Johann Strauss only came to Baden for special holidays. A ‘Strauss Day’ had its own festive Tobias Haslinger announced the publication of the work in the Wiener Zeitung on 30th November, included in organization. In the early afternoon Strauss gave a concert at Hauswiese in Helenental, a centre of festivity for the the second album of Vienna Tivoli Music with the opus number 39. The title-page shows the complete layout of the occasion. It must have been a romantic setting for a concert, exactly reflecting Biedermeier taste. To conclude such Green Hill. This sketch informed the public more accurately than a picture of the Tivoli enterprise that appeared in a day Strauss played an entr’acte at the Stadttheater, a concert in the Kurpark or for a ball at the Redoute. All these the Theaterzeitung and contributed to its commercial success. There was, then, a double success. Johann Strauss aspects of such a Strauss day are reflected in the waltz Souvenir de Baden. The two chords of the introduction stress could be grateful for the wild approval of the many people at the festival on 9th October 1830, and Tobias Haslinger the festive mood (this could also be interpreted as homage to the Emperor Franz). The graceful motifs of the first was similarly pleased with the publication of the Vienna Tivoli Music. waltz are well suited to concerts at Hauswiese. The quickly following melodies of the second section correspond to On 3rd November 1830 the Tivoli was closed and the carriages put into store. In the following years the the rapidly flowing stream in the Helenental valley. The repetition of the festive chords in the coda round the attraction of the hill-slide faded, and the number of visitors declined. In the end there remained only the memory impression off. The title-page of the piano version of the waltz issued by Tobias Haslinger on 18th October 1830 and the two Strauss waltzes, the Tivoli Slide Waltz of 1830 and the Tivoli-Freudenfest-Tänze, Op. 45 (Tivoli gives a rough sketch of a concert at Hauswiese. Festival Dances) from the last good year, 1831. If the first performance of Souvenir de Baden was not at a Strauss day in the summer of 1830, the date of 25th August 1830 can be suggested. On that day an evening event was held at the Sperl in Leopoldstadt. On this occasion 9 Montecchi-Galopp, Op. 62b (Montecchi Galop) the Strauss orchestra alternated with two military bands. The festivities were on a grand scale, attracting many Johann Strauss led his musicians in a performance of his Montecchi Galop for the first time on 22nd January 1833 people. It would have been an outstandingly suitable occasion for the presentation of this waltz. at a soirée in Ignaz Wegner’s coffee-house on the Prater. Strauss took the melodies from a rich source, Vincenzo Bellini’s score for his opera I Capuleti ed i Montecchi, based on Shakespeare’s Romeo and Juliet, first performed in 7 Zampa-Galopp, Op. 62a (Zampa Galop) Venice on 11th March 1830. The first Vienna performance was at the Josephstadt Theatre in German translation on The Zampa-Galopp and the Montecchi-Galopp by Johann Strauss were published by Tobias Haslinger in the 23rd November 1832 under the title Die Montecchi und die Capuletti. This was without significance for Bellini’s collection Favourite Galops. The Zampa-Galopp, which is No. 37 in the collection, was announced in the Wiener music, which was and remained successful and popular with Viennese music-lovers. It was not hard for Johann Zeitung on 4th June 1832. Strauss wrote the work during the Viennese Zampa craze that came about with the Strauss to win similar success with his galop. performance of the opera Zampa or The Bride of Marble, on a libretto by Mélesville (Anne-Honoré-Joseph Duveyrier) in a German version by Joseph von Seyfried on 3rd May 1832 at the Imperial Court Opera Theatre by 0 Wiener Damen-Toilette-Walzer, Op. 40 (Vienna Ladies Dressing Waltz) the Kärntnerthor. Johann Strauss composed his amusing Wiener Damen-Toilette-Walzer for his benefit ball on St Catherine’s Day, The whole of Vienna was full of the graceful melodies by the composer Louis-Joseph-Ferdinand Hérold. 24th November 1830, at the Sperl, and played it himself at this ball before a sizeable audience. The success of the So great was the bally-hoo that Johann Nestroy had the idea of a parody for an evening performance, Zampa the new work was so great that it had to be repeated. It was, however, an interesting waltz that Strauss offered not only Idler or The Plaster Bride and appeared in it himself on 22nd June 1832. With his galop Johann Strauss reacted as to the many celebrating St Catherine’s Day but to all the ladies of Vienna. That the ladies were fashion-conscious quickly as Nestroy. goes without saying. In Vienna some fashion papers were published, the patterns in which were eagerly imitated. This lively work is quite unpretentious. A short introduction is followed by eight and sixteen-bar sections, and Every elegant lady in Vienna had her own dressmaker to prepare her expensive dresses in the house. In the a trio with three eight-bar sections. A trio comes after the galop da capo. supplements of the Theaterzeitung and the fashion magazines every man and particularly every woman could see what splendid patterns there were and how these could be adapted. The dictates of fashion are not a discovery of the present century, but were also important in the Biedermeier period. Today, though, with international fashion

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In a career that spanned a period from the 1820s until his death in 1849, the older Johann Strauss established an unrivalled position for himself among composers and performers of dance music in Vienna. His own achievements were continued by his three sons, ensuring the name of Strauss was inextricably identified with the musical pleasures of nineteenth-century Vienna. The works featured on 8.225281 this recording date from the early 1830s, when Strauss was pre-eminent in the ballrooms of DDD Biedermeier Vienna, and includes melodies from operas by Auber and Bellini. 8.225281 Johann Playing Time Strauss I 72:25 Johann STRAUSS I: Edition • Vol. 5 (1804-1849) 6

Edition • Vol. 5 36943

1 Contredanses, Op. 44 5:42 52812 2 Benefice-Walzer, Op. 33 6:32 3 Bayaderen-Galoppe, Op. 52 (Lieblings-Galoppe, Nr. 36) 2:40 4 Gute Meinung für die Tanzlust (Waltz), Op. 34 6:34

5 Contratänze, Op. 54 5:16 9 6 Souvenir de Baden (Helenen-Walzer), Op. 38 6:12 www.naxos.com h Made in Canada Booklet notes in English

7 Zampa-Galopp, Op. 62a 2:19 2004 & 8 Tivoli Rutsch-Walzer, Op. 39 7:26 9 Montecchi-Galopp, Op. 62b 2:07 0 Wiener-Damen-Toilette-Walzer, Op. 40 7:19 g ! Der Raub der Sabinerinnen, Charakteristisches Tongemälde, Op. 43 10:21 2004 Naxos Rights International Ltd. @ Das Fest der Handwerker (Galopp), o.Op. 1:31 # Johann STRAUSS I: Edition • Vol. 5 Vol. Johann STRAUSS I: Edition • Tivoli Freudenfest-Tänze, Op. 45 8:10

Slovak Sinfonietta Z˘ilina • Christian Pollack

Recorded at the Fatra Concert Hall, Îilina, Slovakia from 24th to 27nd November, 2003 8.225281 Producer: Rudolf Hent‰el • Engineer: Gejza Toperczer Booklet Notes: Franz Mailer (translated by Keith Anderson) Cover Painting: Lucien-Besche in ‘A Girl’s Anticipation and Realisation of Marriage’ c.1875 (Mary Evans Picture Library)