Hungarian composer Emmerich Kalman (1882-1953) studied under Hans Kossler at the Franz Liszt Academy of Music in Budapest. After graduating he achieved acclaim with the operetta "The Gay Hussars" in 1908.

His operetta "The Csardas Princess," in three acts, premiered on November 17, 1915, at the Johann Strauss Theater in Vienna. K?lm?n went on to success with works like "Gr?fin Mariza" and "Die Zirkusprinzessin," and along with Franz Leh?r, famous for "The Merry Widow," he became a leading composer of the "Silver Age of Viennese Operetta" in the early 20th century.

Operetta, a form of theater performed since the 18th century, is characterized by its popular and entertaining elements. By the early 20th century, when "Die Csardasfurstin" was created, it had incorporated more show-like elements, including the use of drum sets, adding a light music aspect. Furthermore, it was common for directors to make additions or changes to the music for productions.

This arrangement by Eiji Suzuki was completed in 2008-09, conceived by Kazuhiko Tsuchiya of Tamagawa Academy Junior High School in Tokyo with the cooperation of Ken Inou of Okayama Meisei Gakuin High School. It premiered at the All-Japan Band Competition in 2009.

The arrangement faithfully adheres to the original in segments "Introduction," "ALLE SIND WIR SUENDER," "AUS IST'S MIT DER LIEBE BEI MIR," and "Finale," "SYLVA! ICH WILL NUR DICH," and "'O JAG' DEM GLUECK NICHT NACH AUF MEI" while cleverly reorganizing the overall structure with a free concept.

The arranger offered these performance notes:
"The piece has a fast-slow-fast three-part structure. For the rapid sections with many accents and articulations, pay careful attention to tone production, aiming for a sound that resonates even in short notes. In the middle section, do not merely sing the melody but create resonance through precise ensemble playing of the accompaniment, allowing the melody to ride on top of this sound, which "sings" itself. Recognize the second-beat horn as part of the melody. Avoid fluctuating tempo or focusing solely on agogic accents in vocal lines, as it may disrupt the natural sustain. Remember, from the perspective of wind music, not to forget "vocal" resonance.

(Eiji Suzuki)