Robert Stoltz
Tricks and Tricks of the Viennese Waltz the magic of music
The author has a deep personal belief that if a conductor (conductor) leads waltz and music in the Viennese light group of the “Johann Strauss” family
(Johann Strauss) is very good, a conductor or music director should also be able to conduct classical music such as symphonies and that person, in addition to being a good conductor He should also be known as a “Good Artist” who is also full of good taste. Why does the author say this ì The reason is that the author thinks There are attributes of the excellence of the musical elements of this light music, which are inserted into the music of wisdom (Serious Classic) or all symphonies, whether the melody (smooth flow), the art of using expressions. or musical sentences, rhythm (and the art of flexibility in rhythm), creativity in musical interpretation, good humor and optimism. All these qualities are present in The legacy of Viennese light music is evident. It’s good music quality itself. This is the reason why the author believes that A good conductor would lead the waltz from “Family Strauss” too. It is a testament to our understanding of the elements of music.
Viennese dance music or light music. Played a very important role in the 19th century as popular music which the conservative scholars of that time saw as a “threat” to break the tradition, the symphony musical tradition with wisdom which is long and difficult to establish before hundreds of years, but music and art are like any other living thing. which has its own way of life, growing and evolving with the force of destiny. No matter how many attempts to resist In the end, he finally managed to win people’s hearts and began to reside in people’s hearts in society. concern that those who know It used to be concern that it would be a threat to the endowment of the symphony (traditional, like Mozart, Beethoven … etc.). But it has become a musical art that goes hand in hand with traditional-traditional symphony music that has always been friendly and mutually supportive. It has also changed its status to be recognized as a sub-sector of “Classical Music”
like traditional symphony music that was once the music of people’s daily life in society time has passed changing social conditions Life is more complicated and hurried. Light music and the Viennese waltz which used to be hot in the era Strauss’s 19th century composers gradually waned towards the end of the century. and it became a twilight period of decline In the early 20th century, known as the “Silver Age” of the Viennese Waltz. and opera (Operetta), entertainment and entertainment for the new generation (at that time) that began to change The interesting point is It was during this time of the night the Viennese Waltz. There are still many famous musical poets who have created works. in light music This (but wisdom) comes forth in great numbers. Both are in the form of waltzes, dance songs, marching songs, as well as micro-opera. Among the names of composers of this period were Emmerich Kalman, Franz Lehar, Oskar Strauss, Richard Heuberger (Richard Heuberger) … etc. and the last name the author would like to bring up with the idea that “Even if it’s the last name But it doesn’t mean it’s the least important” (The Last but not the Least) He is “Robert Stoltz” (Robert Stoltz), an Austrian composer and conductor who can say that he is not n wrong He was probably the most deserving of the title of “The last successor of the Viennese light musical tradition”
Robert Stoltz was born in Graz, Austria in 1880 and died in Berlin, Germany in 1975 aged 95. Full of mood, the traditions of 19th century music, especially the light music of Vienna. Classified as an artist who was born and raised during the late Romantic period. to have the opportunity to absorb the mood, the romantic music for life He was born into a musical family. With a father who is a music director and a music teacher named “Jakob Stoltz” (Jakob Stoltz), who is also the first music teacher in Robert Stoltz’s life. The mother was a pianist called “Ida Bondy”. After Robert Stoltz received a formal musical education from the Vienna Conservatory as a music student composing “Robert Fuchs” (Robert Fuch) and “Egelbert Humperdinck” (Egelbert Humperdinck ) a small event. One incident worth remembering That is, when Robert Stoltz was 19 years old, he had the opportunity to lead the band to play in one night’s concert in Vienna in front of him. “King of the Waltz” that is Johann Strauss until the impression. even received approval, praise and blessings from The real waltz king
That is a certification that He is the next Viennese waltz in spirit and justice.
it is good luck in the appropriateness of the moment The technology records sound in a clear stereo system. It happens just in time as Robert Stoltz matures through the experience of Viennese traditional music throughout his life. and spent the end of his life conveying the Inheritance of the way of thinking, how to interpret light, loud music with this wisdom. with two orchestras, the “Vienna Symphony Orchestra” and the “Berlin Symphony Orchestra”, a collection of recordings of Vienna’s light heritage by Robert.
These Stoltz can be compared to the virtual The Bible quotes one of the most authoritative interpretations of this special musical heritage. which is not wrong that we can call him as the conservative Successor of Johann The “authentic” and “real” Strauss is certain, although the interpretation of the Viennese waltz There are an infinite number of possibilities. But the interpretation of the artist who was born in the atmosphere, the mood of the period he was educated until composing music according to this tradition by himself It is also praised, received by Johann Strauss himself, that it is indeed an interpretation that worthy of study and reference by the younger generations. with an open-ended question, “The Viennese Waltz How should I play it?”
and a strong inspiration to write this article from the author himself It comes from having the opportunity to listen to recordings of the light interpretations of the Viennese legacy that Robert Stoltz recorded before his death in the 1960s-1970s An inspiration that is difficult to explain in a definite way. but if in terms of emotion It is clear and new. The author believes that many music lovers know and are familiar with it All Viennese light songs or Viennese waltz also listened for a long time Until maybe I’m used to numbness and I don’t even come still anything new
But the first time listening to Robert Stoltz’s interpretations of these songs, especially the old war horse song “On The Beautiful Blue Danube”, it was so familiar that you could get bored at times. Immediately after listening to his interpretation, Can feel the beauty, taste of music that can feel the newness can be felt with the heart but hard to describe in words
Robert Stoltz did not do it intentionally or make any effort. To make his performance different, or to make any difference. or even trying to make any external musical composition sound “authentic”, “original” at all. Called “classic” and “right”, it does not create an external kick by extending the rhythm unusually, it doesn’t stretch, it doesn’t shrink too much, another important charm of this kind of music is “children of drops”, drops of musical words That doesn’t sound like these things are too much to deform the music .Robert Stoltz makes a difference with what the author uses to describe that The “inner musical pulse” is allocated, arranged to fit the rhythm in his composition. Even the author himself originally liked to interpret these light music in a way that breaks the tradition, twisting it differently with freedom. (Which musical score opens the way for her already), but when coming into contact with the interpretation of Robert Stoltz, then having to meet the Viennese waltz in the aristocratic edition maintaining the image of good taste but it can defeat us without adding anything playful, playful, not teasing, as we often experience. He is, of course, the real and original Viennese Waltz. But we would not be able to conclude that This is how Viennese light music should be played in one form.
What has shaped it? Most certainly in one aspect, it is education. But it is education in the environment, the mood of the times. descends from Johann Strauss directly in the contemporary period see each other. In addition to studying formally at the Vienna Academy of Music, Robert Stoltz was immersed in the atmosphere of the European world in “La Belle Epoque” or the period before the war. people’s way of life is still addicted to it Theater in the form of theatre. and a concert hall He later lived at the beginning of a new theatricality that had just begun to form in the 20th century: cinema. In the dimension of a creative artist, Robert Stoltz is an orchestrator who has produced a large number of his own compositions for Viennese waltzes, choruses, operettas in the Viennese tradition of the century at the age of 19.
And when films were made in the 20th century, he created soundtracks for dozens of films, soundtracks for various stage shows. He was an important artist of the time. Truly a “vein of the ages”
There was a conversation he had at the end of his life. That happened just before his death at the age of 95 (in the year 1975) where he talked about creating his music which “…If I myself did not feel anything in my heart, (my) music would not be able to fill the audience at all. How do you gain confidence clearly? If you don’t have that feeling yourself first…” This reflects the idea-belief in heart-to-heart music very well. He was considered an “Honorary Citizen of Vienna” in 1970 (aged 90) In his late life, he conducted music using batons inherited from Johann Strauss (Probably the stick used to direct music recordings Strauss in the 1970s!, very magical) after his death He was buried in the central cemetery of Vienna, near the graves of his revered Johannes Brams and Johann Strauss. There are many places and streets in Vienna. all the way to Germany using his name to commemorate the great memory And when someone asked him, “What is the Viennese Waltz?”, he smiled and replied, It’s like a 3/4 beat in a waltz: “1/4 is is youth, light (Spring), 1/4 is love, and 1/4 is…Vienna.”
So this is not all wrong if we call it that. “The Last Viennese Waltz”
