The Viennese custom of naming waltzes after ball festivals and ball festivals after waltzes goes back to Lanner, Strauss I and their contemporaries. Strauss II elevated this practice to an art, for Lehár it became a welcome source of popularity and income. When Princess Pauline Metternich planned a "gold and silver" redoubt after a "white" and a "red-white" for carnival in 1902, she revived the old custom. She commissioned the young conductor of the "26er", Franz Lehár, to do it. On Thursday, January 27, 1902, the redoubt took place. According to tradition, the waltz was always played first as a concert piece, with an introduction and a coda. When the conducting composer had accepted the applause and the Archduke had completed the lap of honor with the Princess, the general dance began. It was different with the “Gold and Silver” redoubt. «Hardly the first theme sounded when the people started chattering, laughing and dancing. There was a few hand claps at the end - they asked for a repeat - and that was all». Nobody could have guessed that the defeat of the evening would become a worldwide success. Least of all the composer himself. But he created the symbolic and musical transition from the golden to the silver age of the operetta.
Saturday, 29. November 198020.00 o' clock Neu Isenburg ⁄ Hugenottenhalle
Concert in Neu Isenburg German tour 1980
Willi Boskovsky conductor
Program Franz von Suppè : Ouverture zu «Ein Morgen, ein Mittag, ein Abend in Wien» Johann Strauss II : Morning Papers / Waltz op. 279 Johann Strauss II : Light of Heart / Quick polka op. 319 Johann Strauss II : Treasure Waltz op. 418 Josef Strauss : Fire-Proof! / Polka française op. 269 Break Johann Strauss II : The Blue Danube / Waltz op. 314 Johann Strauss II : Thunder and Lightning / Quick polka op. 324 Franz Lehár : Gold and Silver / Waltz op. 79 Johann Strauss II : Cuckoo Polka / Polka française op. 336 Johann Strauss II : Accelerations / Waltz op. 234 Encore Johann Strauss I : Radetzky March op. 228
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