01	Non-Stop Fast Polka ) Op. 112						02:29
	02	Chinese Galop (Chineser Galopp) Op. 20						01:43
	03	Egyptian March (Egyptischer Marsch) Op. 535			Cincinnati Pops Chorale			04:09
	04	Artists Quadrille (K*nstler Quadrille) Op. 201						04:51
	05	Emperor's Waltzes (Kaiser Walzer) Op. 437						10:16
	06	Magic Bullets Fast Polka (Freikugeln Polka Schnell) Op. 326						03:08
	07	Chatterbox Fast Polka (Plapperm*ulchen Polka Schnell) Op. 245						03:13
	08	Jubilee Festival March (Jubelfest Marsch) Op. 396						04:56
	09	Chit-Chat Fast Polka (Tritsch-Tratsch Polka Schnell) Op. 214						02:47
	10	Music of the Spheres Waltzes (Sph*renkl*nge Walzer) Op. 235						09:19
	11	Whiplash Polka (Geisselhiebe Polka) Op. 60			Cincinnati Pops Chorale			03:15
	12	Jockey Fast Polka (Jockei Polka Schnell) Op. 278						01:48
	13	Click-Clack Galop (Klipp-Klapp Galopp) Op. 466						02:27
	14	Wine, Woman and Song Waltzes (Wein, Weib und Gesang Walzer) Op. 333						10:36
	15	Perpetual Motion (Perpetuum Mobile) Op. 257						03:16

Credits

Art Direction – Ray Kirschensteiner
Choir – Cincinnati Pops Chorale (tracks: 3, 11)
Composed By – Eduard Strauß (tracks: 1), Johann Strauss Jr. (tracks: 3 to 6, 8, 9, 11, 13 to 15), Johann Strauss Sr. (tracks: 2), Josef Strauß (tracks: 7, 10, 12)
Conductor – Erich Kunzel
Cover, Painting – Wilhelm Gause
Edited By – Erica Brenner
Engineer – Jack Renner
Engineer [Assistance], Sounds [Digital Sound Effects] – Michael Bishop
Orchestra – Cincinnati Pops Orchestra
Producer – Robert Woods (2)
Supervised By [Production] – Elaine Martone
Technician [Assistance] – Thomas Knab

Notes
Total Playing Time: 68:05

20-Bit DIGITAL! This compact Disc was produced from 20-Bit Digital masters made during the recording sessions with Telarc's Propietary 20-Bit System.

*** Technical Information ***

Recorded in Music Hall, Cincinnati, Ohio on November 4, 1991 & November 2, 1992
Microphones: Schoeps MK-221B (vacuum tube) with MK-2S capsules & Schoeps MK-21
Cosole: Ramsa WR-S824B custom engineered by John Windt
Digital Recording Processor: Telarc / Ultra-Analog 20-Bit, 128 times oversampling ADC, custom engineered by Kenneth Hamann
20-Bit Recording on Mitsubishi X-86E; digital gunshots on track [5] were recorded in 20-Bit; digital sound effects on tracks [1] & [12] were recorded in 16-Bit using Sony 1630; and track [13] was recorded in 16-Bit using Sony 1630
Microphones & Interconnecting Cables: Monster Cable Series I, M1500, M1.5 and Music Interface Technologies Proline & MH-750 CVT Shotgun Terminator
Monitor Speakers: Waveform Mach 7 (Bi-amplified) by Ötvös industries
Monitored Through Madrigal Audio Labs PDP-II DAC
Power Amplifiers: Bryston 4BPNB
Exclusive Control Room Acoustic Treatment: RPG Abffusors & Diffusors
Digital Editing: Sonic Solutions
Digital Mixing: Sonic Solutions & Lexicon Opus

During the recording of the digital masters and the subsequent transfer to disc, the signal was not passed through any processing device (i.e., compression, limiting, or equalization) at any step during production.

Special thanks to Peter Kemp of The Johann Strauss Society of Great Britain, John Simna, Crafton Beck, Joy Boschulte, Scott Burgess and Commercial Recording Studio.

Cover painting: Detail from "The Court Ball," Wilhelm Gause
Historisches Museum Der Stadt - Bridgeman / Art Resource, NY