Vienna, the waltz, and the Strauss family are inseparable entities. The waltzes of Johann Strauss, Sr. (1804-49) evoked the air of the Viennese countryside, beer gardens and Heurigen. Those of his eldest son, Johann, Jr., at first had the same rhythmic vitality and brief melodies. After 1860, however, this would change. The younger Strauss infused the traditional waltz format and sound with a new vitality and sophistication that reflected the glittery, hedonistic spirit of nineteenth-century imperial Vienna. He melded the rhythmic drive of his father's works with Joseph Lanner's (1801-43) lyricism, and changed the rhythmic emphasis from the beat to the measure. Strauss' seemingly unlimited melodic invention prompted him to compose melodies that did not fall into the traditional four-, eight-, or sixteen-measure patterns of earlier waltz tunes. He maintained the basic outline employed by Lanner and his father: a slow introduction, (typically) five pairs of waltzes and a coda, but increased the length of each section and the organic unity of the whole. Strauss' orchestration is often picturesque, especially in his introductions, while that of the waltzes themselves approaches a Mozartean clarity. Strauss' Das Spitzentuch der K?nigin, with text by H. Bohrmann-Riegen and Richard Gen?e (1823-95), premiered on October 1, 1880, at the Theater and der Wien in Vienna. Originally written for Franz von Supp? (1819-95), the three-act book was based on Cervantes' Don Quixote. Strauss extracted the "Truffel" Couplet from Das Spitzentuch der K?nigin as the point of departure for his waltz Rosen aus dem S?den (Roses from the South). The waltz was published in 1880 in Hamburg, before the score of the operetta was printed.

Please note that this arrangement does not play back accurately due to the unplayed D.S. signs. This arrangement comes with a supplemental violin 3 part, and an optional bass part for use with string orchestra.