These paraphrases on the waltzes of Johann Strauss, Jr., are what is to be expected: highly florid and virtuosically showy. However, that doesn't mean they are all flash and no substance, particularly in the hands of Rorianne Schrade. She brings out the original melodies and uses the flourishes to enhance the elegance of Strauss' already elegant music. Much of that extra material is also used to keep the music flowing and gliding along so that the pulsing of the waltz can be felt without the "oom-pah-pah" accompaniment. ...
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These paraphrases on the waltzes of Johann Strauss, Jr., are what is to be expected: highly florid and virtuosically showy. However, that doesn't mean they are all flash and no substance, particularly in the hands of Rorianne Schrade. She brings out the original melodies and uses the flourishes to enhance the elegance of Strauss' already elegant music. Much of that extra material is also used to keep the music flowing and gliding along so that the pulsing of the waltz can be felt without the "oom-pah-pah" accompaniment. Schrade gives the waltzes continuous movement and sparkle without being too dramatic at the beginnings and ends of themes or with the bridges between themes. The Dohnányi is not quite as flowery as the Schulz-Evler, Godowsky, or other arrangements, but Schrade's own arrangement of The Kiss Waltz fits right in with the others, filled with fluid ripples of accompaniment. Erich Wolfgang Korngold's Tales of Strauss is actually the oddball here. It's an original work by Korngold that...
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