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At YouTube, a lovely montage set to a performance of mine featuring the Artur Schulz-Evler arrangement of 'By the Beautiful Blue Danube' has been posted. You can type my last name in the search box to find it. I studied this with Adele Marcus, who was a student and assistant to Josef Lhevinne--who made this Schulz-Evler piece famous in his day.

I can't find it.

My goodness!

That was so impressive! Not only light and airy - with no technical challenges evident - but also with the right touch of Viennese "schmaltz". Thank you for posting.

Regards,

Thanks, BruceD. I must admit, in 1985, I tried to imitate Josef Lhevinne and Adele Marcus had a fit! She said, 'He never played it like that recording--they sped that up to fit on the rolls--slow down!!' Well, I did of course!

Sounds awkwardly alot like Hamelins. Looking forward to seeing you in video next time.

Regards,

Krause

No clue Marc played it--glad to hear that.

Hello, I just heard that fanstastic recording, wonderful! Now I have a question, because I am studying that piece right now. In Waltz No.3, Bars 199-210: do you play all the notes with the right hand, like it is in the music? I only play in these bars the first two eights fully with the right hand (because at the beginning of every bar the left hand has to play a chord, of course), but in the next four eights of every bar I take the lower eights with the left hand. I think that makes it much easier here. Do you also play it like this, or what do you think about that idea? Thomas

Thanks!!
Not sure how to answer your question, as I don't have the music in front of me--I would do anything that is easier and sounds the same or close to what is there in this transcription--I do basically everything that's there--

Best-
Jeffrey

Thanks for your answer, so I think I am on the right way.

Talking of the tempo: I think you are still pretty fast, and sometimes you come close to Lhevinne on the too-fast-running piano roll. I am sure I will slow down much more. I have a CD with this historical recording (I like these old piano roll recordings), and when I heard it I thought from the first moment: this roll is running to fast. It's sad that they sped it up like Adele Marcus mentioned, because it doesn't sound good anymore.

In concert I heard another remarkable performance of this piece, with David Helfgott - very excentric, but very impressiv too.

In your version you cut out the end of Waltz No.4 (the presto cadenza), Waltz No.5 and parts of the coda: did you do that to have the same version like Lhevinne?

It's so long ago that I learned it--perhaps. I do play it slower than that recording now too.