Wiener Blut Waltzer, Op. 354 (Vienna Blood) Cover Image

Wiener Blut Waltzer, Op. 354 (Vienna Blood): Salon/ Theater Orchestra, Conductor Score & Parts

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Wiener Blut Waltzer, Op. 354 (Vienna Blood) Cover Image

Wiener Blut Waltzer, Op. 354 (Vienna Blood): Salon/ Theater Orchestra, Conductor Score & Parts

By Johann Strauss II, ed./arr. by S. K. Wright

Item: 36-A742602

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Description
Johann Strauss Jr. (1825-1899), The Waltz King of Vienna, was beginning to focus more on composing staged operettas over concert works when he was asked to write a dedication waltz to celebrate the wedding of the Emperor Franz Joseph I's daughter Archduchess Gisela Louise Maria to Prince Leopold of Bavaria. The waltz, titled WIENER BLUT (VIENNESE BLOOD), Op. 354, was first performed on April 22, 1873, and is notable as being the first work by Strauss performed by the Vienna Philharmonic Orchestra, which had rejected his works previously in an effort to avoid association with "light" music. A mature waltz, it showcases Strauss' move towards the symphonic concert style, with extended melodies and more varied development. This reduction for theater/salon orchestra was completed by S.K. Wright. Instrumentation: 1.1.2.1: 2.2.1.0: Timp.Perc(2): Pno Cond Sc in set: Str (9-8-7-6-5 in set). Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 612735536114
SKU: 36-A742602

More about this title

About the Composer: Johann Strauss II

Johann Strauss II (1825-1899) inherited his father's legacy and transformed himself into Vienna's most celebrated composer of dance music. He mastered the waltz idiom with unprecedented sophistication, elevating it from ballroom entertainment into concert art through extended melodies, orchestral color, and structural ambition that rivaled the concert works of his contemporaries.

Why we love this

This waltz marks a watershed moment in Strauss' career: the Vienna Philharmonic's first performance of any Strauss work, a symbolic breakthrough after years of institutional resistance to "light" music. The orchestration and melodic scope here belong to mature Strauss, and the Wright reduction for theater orchestra captures that symphonic sensibility while remaining accessible for smaller ensembles.

What to expect

Elegant and celebratory, with the warmth of Viennese melody unfolding through orchestral textures that feel both intimate and refined. The music carries ceremonial occasion without pomposity, balancing sophistication with the natural grace that made Strauss a voice of his era.

Who it's for

Conductors programming salon or theater orchestras who want a work of genuine artistic substance beyond typical light-music fare. This reduction serves ensembles seeking to bridge the waltz tradition with symphonic repertoire without requiring full orchestral forces.

How to get the most out of it

  • Maintain the lilting waltz character throughout by keeping the triple meter elastic and unforced; let the phrasing breathe naturally rather than subdividing mechanically.
  • Balance the string writing carefully with the woodwind solos to preserve clarity in the extended melodic passages without overwhelming the intimate salon context.
  • Shape the dynamic arcs across entire sections rather than treating each phrase in isolation; Strauss builds momentum through cumulative development, not sudden gestures.

How to use it

This works brilliantly as a concert opener or intermezzo, offering audiences the pleasure of recognizable Viennese tradition while showcasing compositional depth. Pair it with other works from the 1870s or with related chamber repertoire that benefits from the cultural context of the imperial court.

Skills your students will build

  • Maintaining ensemble cohesion in triple meter across sustained passages
  • Balancing melody and accompaniment within chamber instrumentation
  • Shaping extended melodic lines with structural coherence
  • Interpreting Romantic-era phrasing and dynamic nuance

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