Often I forget about all the works I listened to when I was younger. Back in the day where it all just seemed so random and different and I was no where close to understanding and loving it as much as I do today. The luxury of music in some forms is how simple it can be whilst still promoting the same effect.

Not much simpler a form of music exists than the Viennese Waltz. The meter is always 3/4, harmonic pace and the harmony itself are typically very simple and the "ump-cha-cha" effect is always present with the downbeat held in the bass voice of the group performing followed by the two other beats in other instruments.

Talk about masters of the Viennese Waltz and a name that immediately pops up is Johann Strauss II, son of Johann Strauss I and is correlated with elevating the waltz to new heights through his lifetime. Four of his waltzes follow below, each one applying to a certain mood, I shall leave that determination to you.



On the Beautiful Blue Danube, Op.314 was a waltz composed by Johann Strauss II in 1867 and is the statue of waltzes among the public that Strauss ever composed. I always remember the scene from Futurama where Bender is floating lost in space and he's swimming in the abyss with this waltz playing in the background. Weird connection I know. This work always appears connected to "space" themes, it was used in 2001: A space Odyssey as well.


Herbert von Karajan conducts the Vienna Philharmonic

Roses from the South (Rosen aus dem Suden), Op.388 If love could stem from a waltz than this would be the work to embody it. It has every range of emotion possible, the first look into her eyes, the first dance, the first kiss, the first letdown and then, life together forever. Okay perhaps not that idealistic but the piece would have it otherwise.



Enjoy life! (Freut euch des Lebans), Op.340. This was another work I had heard in my childhood but never really knew what it was till in my late teens when I saw the YouTtube video below and immediately recognized it.



Voices of Spring (Frühlingsstimmen), Op.410. One of my perpetual favorites that I rediscovered a couple of years ago. Once again I immediately recognized it from my younger days, was always wondering where it came from.



I always figured it was hearing these works in my youth that may have turned my musical interest into the "classical" way. Never really knowing what they were might have spiked my curiosity slightly, if only to look for something greater each time, but still be disappointed in not being able to find a similar "emotional" connection.

These four will always have a special connection however.