I'm never quite sure why people wish to hear Strauss waltzes and polkas in reductions for small ensemble rather than in their full orchestral garb, but presumably it must be as a diverting change from the real thing rather than a fully adequate substitute. In the Alexander Weinmann arrangements of Lanner and the elder Johann Strauss, to be sure, one is able to appreciate to the full the clear lyrical lines of works whose full orchestration is very much built upon the foundation of the string quartet. Likewise, in the large-scale waltzes of the younger Strauss one cannot but admire the skill and affection with which Webern, Berg and Schoenberg used the limited resources available to their Society for Private Musical Performances. Indeed, if string quartet, piano, flute and clarinet inevitably struggle to capture the full splendour of the march introduction to the Kaiser-Walzer, the imaginative way in which Schoenberg finds a chamber ensemble substitute for Strauss's full orchestral sound is perhaps the most impressive aspect of the various arrangements here.
On its own terms, the collection is extremely impressive. The Alban Berg Quartet have made a fine selection of some of the most melodic works from over half a century of prodigious invention, and they play them with affection and relish. From Lanner's tender Marien-Walzer, through to Strauss junior's most magisterial waltz, the clarity and refinement of the playing is tempered with a sense of lightheartedness and fun. If you fancy a Viennese dance collection with a different slant, don't hesitate to go for this admirable release.'