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See latest reviews of other albums..., July 2012

Played by the Slovak Sinfonietta Žilina with its usual skill, and conducted by Christian Pollack with his usual enthusiasm, the works help paint an ever-clearer picture of Strauss Sr. as a highly creative composer, skilled with thematic creation and variety, clever with orchestration, and always focused both on the danceability of his works and on the specific occasions for which he wrote them. © 2012 Read complete review

Giv Cornfield
The New Recordings, Cliffs Classics, June 2012

The complete works of ‘Junior’s’ works issued not long ago as a 52-CD boxed set was a great hit, so it’s gratifying to see a continuation of Papa’s edition, now in its 22nd volume, packed to the gills (78 minutes!) with a delicious potpourri of waltzes, marches, polkas et sim that make for such delightful listening. This disc is performed by the Slovak Sinfonietta Zilina, under the baton of Christian Pollack—and sounds every bit as good as the two other Slovak orchestras playing in the above-mentioned Strauss Jr’s set. What a pity that Papa Strauss died so young. Still, this disc is delightfully delicious, and one can only look forward to more in a similar vein. © 2012 The New Recordings, Cliffs Classics

David Denton
David's Review Corner, June 2012

Before this Marco Polo series was initiated, the world knew no more than a handful of works from the father of the Strauss family. Now we reach volume 22 that begins with music from 1847 and ends twelve months later in the penultimate year of Strauss’s short life. It is the usual mix of waltzes, marches and polkas, most written to mark special occasions, and, of course, the Carnival, the annual series of lavish balls, that, as the excellent disc notes relate, was to come to a grinding halt when the Austrian economy took a nose-dive in 1848. That his son, Johann, was to create more memorable melodies than his father should not deflect you from the fact that ‘papa’ Strauss composed much engaging music, the gorgeous waltz, Die Adepten, and the much extended Nador-Kor Palantine Dance—a short lived new dance—is delightful in its foot-tapping rhythm. But for me the small jewel of the disc is the Osterreichischer Defilir Marsch, a piece that may well have been written in Strauss’s role as the music director of the First Viennese Civilian Regiment. As a composer of quadrilles, he was a master craftsman, and nowhere more so than in the Bieliebte Quadrille nach Motiven aus Auber’s Oper ‘Das Teufels Antheil. The disc comes to rest in January 1848 with Tanz-Signale (Dance Signals), a very appropriate title as the elaborate dance season that had been planned was much diluted. It would be difficult to imagine more detailed and dedicated performances than from Christian Pollack and the Slovak Sinfonietta, its size so totally in keeping with the music. A nice natural sound quality. © 2012 David’s Review Corner

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