When the Court Opera Director Wilhelm Jahn commissioned the by no means unvain Johann Strauss Jr. to write a ‘genuine’ opera, he readily accepted. So, he wrote Ritter Pásmán, a work the Waltz King himself regarded as his only one in this genre, although the plot is basically like an operetta. The source was the narrative Pázmán lovag by the Hungarian writer János Aranyi (1817-1882). It deals with jealousy and a kind of tit-for-tat. The premiere of the comic opera at the Vienna Court Opera on New Year’s Day 1892 was a major society event, but its artistic success lagged somewhat behind. The reviewers of the premiere were distanced towards the work. On the one hand, they unanimously elevated the ballet music at the beginning of Act III to the status of an absolute masterpiece. (By the way, this was the first time that a cimbalom could be heard in the orchestra of the Court Opera). The present live recording was captured at the Vienna Musikverein on 27 October 1975, with the ORF Vienna Radio Symphony Orchestra under the baton of Heinz Wallberg, Eberhard Waechter as Ritter Pásmàn, Sona Ghazarian as Queen, Josef Hopfwieser as Hungarian King, and Truedeliese Schmidt as Eva as main cast. The recording includes the complete ballet music as bonus tracks, performed by the Slovac State Philharmonic Orchestra under the baton of Alfred Walter.

Does Florian Noack’s take on transcription smack of forbidden delights? From Bach to the Sherman Brothers, the pianist denies himself nothing, especially not the pleasure of liberally sprinkling his good humour and insolent virtuosity over these pieces of every hue. Here is a delightful album in which repertory masterpieces and unexpected musical universes come together in perfect harmony under his fingers and gain new light and life, joyful, playful, airy and poetic, thanks to the magic of his inspiration. With exquisite taste, Florian Noack's transcriptions and paraphrases take us into a world of freedom and refinement, where novel sounds and subtleties of language are delicacies to be savoured… guilt-free!

A veritable musical metaphor for the suicide of Europe that was the Great War, both apotheosis and apocalypse. We also hear evocations of Schubert, Liszt, Mahler and Kreisler, all imbued with a kind of nostalgia that belongs only to this mythical city. - Aurélien Pontier

Dedicated to the last years of Imperial Vienna, which gave rise to an artistic effervescence unique in European history. The program opens with a piano transcription of Strauss's Die Fledermaus and ends with Ravel's La Valse.

Almost forty years after his first recording on Chandos, this unique limited-edition release gathers some of the best and most-awarded recordings on the label by one of the most prolific conductors of all time: Neeme Järvi. It highlights a 200+ discography that explores an astonishingly wide repertoire, with selections from the legendary complete series of Prokofiev’s symphonies and Tchaikovsky’s ballets to the groundbreaking discoveries of composers such as Atterberg or Suchon. It features nearly a dozen of the numerous orchestras with which he has collaborated, including the RSNO, Chicago Symphony, Orchestre de la Suisse Romande, and Royal Concertgebouw Orchestra, all here celebrated at their best. Offered at a very special price and retaining the original covers, this product also includes very special notes by James Jolly, Editor in Chief of Gramophone, as well as exclusive photos and interviews with figures central to Järvi’s extraordinary musical life.

Past praise of previously released material included in this set:

Prokofiev: Symphony No 6, Waltzes Suite / Järvi, SNO

As in all of his Prokofiev symphony recordings–this was the first, by the way–Järvi really digs into the music. The engineering is as big and bold as the performances. This recording deserves classic status.

– ClassicsToday

Smetana: Má Vlast / Järvi, Detroit Symphony

Järvi and the Detroit Symphony Orchestra deliver an expansive reading of the complete work, and their feeling for the music's vivid imagery and richly Romantic expression is spot on.

– All Music Guide