Details
[MUSIC]. STRAUSS, JOHANN I (The Elder), 1804-1849. Autograph letter signed ("J.Strass") to the publisher Tobias Haslinger ("Herr von Haslinger"), [Vienna?], 21 March 1832(?). 1 page, 8vo, 204 x 126mm. (8 x 5 in.), in German.
STRAUSS STUDIES SCHUBERT
To his publisher, Strauss makes certain requests and passes on instructions. With extreme courtesy he asks if he can borrow a score to copy it, in order to make the work less showy, and also requests the score of an available edition of Schubert's "Trauerwalzer." He goes on to give instructions about the positioning of an introduction, so that there can be no doubt to which work it belongs.
The compositions of Johann Strauss I are renowned, together with those of Lanner and his eldest son Johann II, as the acme of the Viennese walz. Johann I introduced much of Europe to the waltz, at the time a great novelty, and regarded by many as scandalously uninhibited. Haslinger was the publisher of almost all Strauss's works; many appeared in as many as ten different arrangements. The letter therefore, documents the influential association between two of the most renowned figures in Viennese musical life in the second quarter of the nineteenth century.
STRAUSS STUDIES SCHUBERT
To his publisher, Strauss makes certain requests and passes on instructions. With extreme courtesy he asks if he can borrow a score to copy it, in order to make the work less showy, and also requests the score of an available edition of Schubert's "Trauerwalzer." He goes on to give instructions about the positioning of an introduction, so that there can be no doubt to which work it belongs.
The compositions of Johann Strauss I are renowned, together with those of Lanner and his eldest son Johann II, as the acme of the Viennese walz. Johann I introduced much of Europe to the waltz, at the time a great novelty, and regarded by many as scandalously uninhibited. Haslinger was the publisher of almost all Strauss's works; many appeared in as many as ten different arrangements. The letter therefore, documents the influential association between two of the most renowned figures in Viennese musical life in the second quarter of the nineteenth century.