Johann Strauss II

The Waltz King coming to life in the Stadtpark, Vienna

Johann Strauss II (German: Johann Strauß (Sohn), "Johann Strauss (son)"; in English also Johann Strauss the Younger, Johann Strauss Jr., Johann Sebastian Strauss) (October 25, 1825 – June 3, 1899) was an Austrian composer known especially for his waltzes, such as The Blue Danube.

Son of the composer Johann Strauss I, and brother to the composers Josef Strauss and Eduard Strauss, Johann II is the most famous of the family. He was known in his lifetime as "the waltz king," and the popularity of the waltz in Vienna through the 19th century is due in large part to him. He became the "waltz king" by his revolutionary elevation of the waltz from lowly peasant dance to sparkling entertainment for the royal Habsburg court. Not only did he revolutionize the waltz, but his work enjoyed greater fame than his predecessors such as his father and Josef Lanner. Some of his polkas and marches are also well known, as is his operetta Die Fledermaus.

The Early Years

Strauss was born in Vienna, Austria. His father did not want him to become a musician but rather a banker; nevertheless he studied the violin secretly as a child: ironically with his father's first violinist in the Strauss orchestra, Franz Amon. However, when his father found out, Johann II recalled that 'there was a violent and unpleasant scene' and that 'his father wanted to know nothing of his musical plans'. It seems that, rather than trying to avoid a Strauss rivalry, Strauss Sr. wanted his son to escape the rigors of a musician's life. It was only when his father left the family and took a mistress Emilie Trambusch when Johann II was 17 that he was able to concentrate fully on a career as a composer.

Johann Jr. then studied counterpoint and harmony with theorist Professor Joachim Hoffmann, who owned a private music school. His talents were also recognised by composer Josef Drechsler (also spelled Drexler) who taught him exercises in harmony. His other violin teacher, Anton Kollmann, who was the ballet répétiteur of the Vienna Court Opera, also wrote excellent testimonials for him. Armed with these, he approached the Viennese authorities to apply for a license to perform. He initially formed his small orchestra where he recruited his members at the 'Zur Stadt Belgrad' tavern, where musicians seeking work could be hired easily.

Johann Strauss I's influence over the entertainment establishments meant that many of them were wary of offering the younger Strauss a contract for fear of angering the former. Strauss Jr. was then able to persuade the Dommayer's Casino at Hietzing, Vienna to give him his debut. The local press were soon frantically reporting a 'Strauss v. Strauss' rivalry between father and son as a result and Strauss Sr., in anger at his son's disobedience and that of the proprietor, refused to ever play at the Dommayer's Casino which had been the site of many of his earlier triumphs.

Strauss Jr. found the early years difficult, but he soon won over audiences after accepting commissions to perform away from home. The first major appointment for the young composer was his award of the honorary position of "Kapellmeister of the 2nd Vienna Citizen's Regiment", which had been left vacant following Josef Lanner's death two years before. Vienna was racked by a bourgeois revolution on 24th February 1848 and the intense rivalry between father and son became more apparent.

Eventually, Johann Jr. decided to side with the revolutionaries as evidenced in the title of his works dating around this period such as the waltzes 'Freiheitslieder' (Songs of Freedom) op. 52 and 'Burschenlieder' op. 55 as well as the marches 'Revolutions March', op. 54 and the stirring Studenten Marsch op. 56. It proved to be a decision which was professionally disadvantageous as the Austrian royalty twice denied him the much coveted 'KK Hofballmusikdirektor' position which was first designated especially for Johann I in recognition of his musical contributions. Further, the younger Strauss was also taken to task by the Viennese authorities for publicly playing the infectious La Marseillaise, which stoked revolutionary feelings but he was later acquitted. Shortly after his acquittal, he composed the 'Geißelhiebe Polka' op.60 which contains elements of 'La Marseillaise' in its 'Trio' section as a musical riposte to his arrest. Strauss Sr. remained loyal to the Danube monarchy and composed his Radetzky March op. 228 dedicated to the Habsburg field marshal Joseph Radetzky von Radetz which would become his most well-known work.

When the elder Strauss died from scarlet fever in 1849 in Vienna, the younger Strauss merged both their orchestras and engaged in further tours. Subsequently, he also composed a number of patriotic marches dedicated to the Habsburg monarch Franz Josef I, such as the 'Kaiser Franz-Josef Marsch' op. 67 and the 'Kaiser Franz Josef Rettungs Jubel-Marsch' op. 126, probably to ingratiate himself in the eyes of the new monarch who ascended the Austrian throne after the 1848 Revolution.

Career Advancements

File:100-schilling-1960.jpg

Johann Strauss on Austrian 100 Schilling banknote from 1960 (http://www.germannotes.com/austria/)

He would eventually surpass his father's fame, and become one of the most popular of waltz composers of the era, extensively touring Austria, Poland and Germany with his orchestra. It would be a usual sight for his audiences to catch sight of Strauss for only one performance before he would quickly hurry to another venue where he was commissioned to play via the traditional fiaker. It would be the ultimate showmanship and this would be displayed on the placards at the venues to proudly proclaim "Heut Spielt der Strauss!" or 'Strauss plays today!'. He also made visits to Russia where he performed at Pavlovsk and wrote many compositions there and retitling it to suit his Viennese audiences back home, Britain where he performed with his first wife Jetty Treffz at the Covent Garden, France, Italy and the United States later in the 1870s where he took part in the Boston Festival and was the lead conductor in the 'Monster Concert' of over 1000 musicians.

Among the more popular dance pieces Strauss wrote in this period include the waltzes Sängerfahrten op. 41, Liebeslieder op. 114, Nachtfalter op. 157, Accelerationen op. 234 and the polkas Annen op. 117, and Tritsch-Tratsch-Polka op. 214.

Marriages

He married the singer Jetty Treffz in 1862 and applied for the KK Hofballmusikdirektor Music Director of the Royal Court Balls position which he eventually achieved in 1863 after being denied several times before for his frequent brush with the local authorities. His involvement with the Court Balls meant that his work has been elevated to be even heard by the royalty. His second wife, Angelika Dittrich (an actress) whom he married in 1878 was not a fervent supporter of his music and their differences in age and opinion, especially her indiscretion, led him to seek a divorce.

Strauss was not granted a divorce by the Roman Catholic church and therefore changed religion and nationality and became a citizen of Saxe-Coburg-Gotha on January 28 1887. Strauss II sought solace in his third wife Adele (whom he married on August 15 1887) and she encouraged the creative talent to flow once more in his later years, resulting in much fine music such as those found in the operettas 'Der Zigeunerbaron' and 'Waldmeister' and the waltzes 'Kaiser-Walzer','Kaiser Jubilaum','Märchen aus dem Orient' op. 444 and 'Klug Gretelein' op. 462.

Family Musical Business

After establishing his first orchestra prior to his father's death, he founded many others to be supplied to various entertainment establishments such as the 'Sperl' ballroom as well as the 'Apollo' where he dedicated appropriately titled pieces to commemorate the first performances there. Later, he accepted commissions to play in Russia for the Archduke Michael and Tsar Alexander II especially in Pavlovsk where a new railway line was built. When the commissions became too much to be handled by him alone, he sought to promote his younger brothers Josef and Eduard to deputise in his absence from either poor health or a busy schedule. In 1853, he was even confined to a sanatorium to recuperate as he was suffering from shivering fits and neuralgia. Anxious that the family business that she so lovingly nurtured would be ruined, mother Anna Strauss helped persuade a reluctant Josef to take over the helm of the Strauss Orchestra. The Viennese welcomed both brothers eventually and Johann even once admitted that 'Josef was the more talented of the two of us, I'm merely the more popular.' Josef went on to stamp his own mark into his own waltzes and this fresh rivalry did more good for the development of the waltz as Johann Strauss II proceeded to consolidate his position as the "waltz king" with his exquisite The Blue Danube waltz which began life as a choral waltz with banal words written by a local poet.

The highlight of the Strauss triumvirate was displayed in the concert of 'Perpetual Music' in 1860s where his aptly titled 'Perpetuum Mobile' musical joke op. 257, was played continuously by all three Strauss brothers at the helm of three large orchestras. At around the same time, the three Strauss brothers also organised many musical activities during their concerts at the Vienna Volksgarten where the audience would be able to participate. For example, a new piece would be played and the audience would be asked to guess who the composer was as the placards would only announce the piece as written by a 'Strauss' followed by question marks.

Musical Rivals and Admirers

Johann Strauss (including the Strauss family) was not without rivals. Although the most sought-after composer of dance music was Johann Strauss II in the 1860s to the 1890s, stiff competition was present in the form of Karl Michael Ziehrer and Emile Waldteufel whom the latter was commanding in his position in Paris. Phillip Fahrbach also denied the younger Strauss the commanding position of the 'KK Hofballmusikdirektor' when the latter first applied for the post.

Much earlier, Johann Strauss I faced a long rivalry with fellow composer Josef Lanner and Josef Gungl. Ziehrer would eventually eclipse the Strauss family after Johann and Josef's deaths and posed more than a challenge to Eduard. The German operetta composer Offenbach who made his name in Paris also posed a challenge to Strauss in the operetta field. Later, the emergence of operetta maestro Lehár would usher in the Silver Age in Vienna and most certainly sweep aside any lingering Strauss dominance in the operetta world.

Johann Strauss and Johannes Brahms photographed in Vienna

He was admired by prominent composers of the day, including Richard Wagner who once admitted that he loved the waltz Wein, Weib und Gesang op. 333 and Johannes Brahms, who was also a personal friend, and to whom he dedicated his waltz Seid umschlungen Millionen or 'Be Embraced Millions' op. 443 inspired from a poem by Friedrich Schiller. Other admirers include Richard Strauss (unrelated to the Strauss family) who, when writing his Rosenkavalier waltzes, said 'How could I forget the laughing genius of Vienna?' which made a reference to Johann Strauss the younger.

Stage Works

Strauss' operettas, however, have not had as much enduring success as have his dance pieces and much of the success was reserved for Die Fledermaus and Der Zigeunerbaron. Notwithstanding the lack of popularity of his operettas, there are much dance pieces drawn from themes of his lukewarmly-received operettas such as 'Cagliostro-Walzer' op. 370 and 'Rosen aus dem Süden' Walzer op. 388. He also wrote an opera, Ritter Pásmán which could be faulted on the libretto but nevertheless, many attribute his strong links to the waltz and the polka as his failure as this may well indicate that he may not be able to write serious music. In fact, for his third and most successful operetta of all time, Die Fledermaus 1874, music critics of Vienna prophesied that his work would only be a 'motif of waltz and polka melodies'. Nonetheless, his fiercest critic and ironically a strong supporter, Eduard Hanslick wrote at the time of Strauss's death in 1899 that his demise would signify the end of the last happy times in Vienna. Johann Strauss II died from pneumonia in Vienna in 1899 at the age of 74 and was buried there in the Zentralfriedhof. At the time of his death, he was still working on his ballet Aschenbrödel.

Legacy

Strauss' music is now regularly performed at the annual Neujahrskonzert of the Vienna Philharmonic Orchestra, as a result of the efforts by Clemens Krauss who performed a special all-Strauss programme in 1929 with the Viennese orchestra. Many distinguished Strauss interpreters include Willi Boskovsky who carried on the "Vorgeiger" tradition of conducting with violin in hand as is the Strauss family custom; as well as Herbert von Karajan and the opera conductor Riccardo Muti. In addition, the Wiener Johann Strauss Orchester which was formed in 1966 pays tribute to the touring orchestras of which the Strauss family are also known for.

It is to be noted that most of the Strauss works that we are all familiar with today may have existed in a (near negligible) different form as conceived by Johann Strauss II and his brothers as Eduard Strauss destroyed a great amount of original Strauss orchestral archives in a furnace manufacturer in Vienna's Mariahilf district in 1907. The Johann Strauss societies around the world have, however, painstakingly pieced together a large body of these destroyed works to be appreciated by future generations. Eduard Strauss, then the only surviving brother, took this drastic precaution to prevent Strauss works from being openly claimed as another composer's own. This may have also been fuelled by the intense rivalry with the other popular waltz and march composer, Karl Michael Ziehrer.

Works of Johann Strauss II

Operetta

listed chronologically within category (with date of composition or first performance)

Indigo und die Vierzig Räuber Indigo and the Forty Thieves (1871)
Der Karneval in Rom The Carnival in Rome (1873)
Die Fledermaus The Bat (April 5, 1874, at Theater an der Wien, Vienna)
Cagliostro in Wien Cagliostro in Vienna (1875)
Prinz Methusalem (1877)
Blindekuh Blind Man's Buff (1878)
Das Spitzentuch der Königin The Queen's Lace Handkerchief (1880)
Der lustige Krieg The Merry War (1881)
Eine Nacht in Venedig A Night in Venice (1883)
Der Zigeunerbaron The Gypsy Baron (1885)
Simplicius (1887)
Fürstin Ninetta Princess Ninetta (1893)
Jabuka (1894)
Waldmeister Woodruff (1895)
Die Göttin der Vernunft The Goddess of Reason (1897)
Wiener Blut (1899)

Opera

Ritter Pásmán Knight Pásmán (1892)

Ballet

Aschenbrödel Cinderella (1899)

Waltz

Sinngedichte op. 1 Epigrams (1844)
Gunstwerber op. 4 Favour solicitor (1844)
Faschingslieder op. 11 Carnevalsongs (1846)
Jugendträume op. 12 Youth dreams (1846)
Sträußchen op. 15 Bouquets (1846)
Sängerfahrten op. 41 Singers' Journeys (1847)
Lava-Ströme op. 74 Streams of Lava (1850)
Rhadamantus-Klänge op. 94 Echoes of Rhadamantus (1851)
Mephistos Höllenrufe op. 101 Cries of Mephistopheles from Hell (1851)
Liebeslieder op. 114 Lovesongs (1852)
Phönix-Schwingen op. 125 Wings of the Phoenix (1853)
Schneeglöckchen op. 143 Snowbells (1854)
Nachtfalter op. 157 Moths (1855)
Man lebt nur Einmal! op. 167 Man only Lives Once! (1855)
Accelerationen op. 234 Accelerations (1860)
Immer Heiterer op. 235 Always Cheerful (1860)
Karnevalsbotschafter op. 270 Carnival Ambassador (1862)
Leitartikel op. 273 Leading Article (1863)
Morgenblätter op. 279 Morning Journals (1863)
Studentenlust op. 285 Students' Joy (1864)
Feuilleton op. 293 (1865)
Bürgersinn op. 295 Citizen Spirit (1865)
Flugschriften op. 300 Pamphlets (1865)
Wiener Bonbons op. 307 Viennese Sweets (1866)
Feenmärchen op. 312 Fairytales (1866)
An der schönen blauen Donau op. 314 On the Beautiful Blue Danube (1867)
Künstlerleben op. 316 Artists' Life (1867)
Telegramme op. 318 Telegrams (1867)
Die Publicisten op. 321 The Publicists (1868)
G'schichten aus dem Wienerwald Tales from the Vienna Woods op. 325 (1868),
Illustrationen op. 331 Illustrations (1869)
Wein, Weib und Gesang op. 333 Wine, Women and Song (1869)
Freuet Euch des Lebens op. 340 Enjoy Life (1870)
Neu Wien op. 342 New Vienna (1870)
Tausend und eine Nacht op. 346 Thousand and One Nights (1871)
Wiener Blut op. 354 Viennese Blood (1873)
Bei uns Z'haus op. 361 At Home (1873)
Wo die Zitronen blühen op. 364 Where the Lemons Blossom (1874)
Du und du op. 367 You and you (1874)
Cagliostro-Walzer op. 370 (1875)
O schöner Mai! op. 375 Oh Lovely May! (1877)
Rosen aus dem Süden op. 388 Roses from the South (1880)
Nordseebilder op. 390 North Sea Pictures (1880)
Kuss-Walzer op. 400 Kiss Waltz (1881)
Frühlingsstimmen op. 410 Voices of Spring (1883)
Lagunen-Walzer op. 411 Lagoon Waltz (1883)
Schatz-Walzer op. 418 Treasure Waltz (1885)
Wiener Frauen op. 423 Viennese Ladies (1886)
Donauweibchen op. 427 Danube Maiden (1887)
Kaiser-Jubiläum-Jubelwalzer op. 434 Emperor Jubilation (1888)
Kaiser-Walzer op. 437 Emperor Waltz (1888)
Rathausball-Tänze op. 438 City Hall Ball(1890)
Gross-Wien op. 440 Great Vienna (1891)
Seid umschlungen Millionen op. 443 Be Embraced Millions (1892)
Klug Gretelein op. 462 Clever Gretel (1895)

Polka

Explosions-Polka op. 43
Annen op. 117 (1852) Anna
Champagne-Polka op. 211
Tritsch-Tratsch-Polka op. 214 (1858) Chit-chat
Maskenzug op. 240 Masked Ball
Demolirer op. 269 Demolition Men (1862)
Vergnügungszug op. 281 Journey Train (1864)
S gibt nur a Kaiserstadt,'s gibt nur a Wien! op. 291 Only an Imperial City, one Vienna
Kreuzfidel op. 301 Cross-Fiddling
Lob der Frauen Polka-mazurka op. 315 Praise of Women
Leichtes Blut Galop op. 319 Light Blood (1867)
Figaro-Polka op. 320
Ein Herz, ein Sinn! Polka-mazurka op. 323 One Heart, One Mind!
Unter Donner und Blitz op. 324 Thunder & Lightning (1868)
Freikugeln op. 326 Free-shooter (1868)
Fata Morgana Polka-mazurka op. 330
Éljen a Magyar! polka schnell op. 332 Long live the Magyar!
Im Krapfenwald'l op. 336 In Krapfen's Woods French Polka
Im Sturmschritt op. 348 At the Double!
Die Bajadere op. 351 The Bayadere
Vom Donaustrande op. 358 By the Danube's Shores
Bitte schön! op. 372 If You Please! (1875)
Auf der Jagd! op.373 On the Hunt! (1875)
Banditen-Galopp op. 378 Bandits' Galop (1877)

March

Kaiser-Franz-Josef-Rettungs-Jubel op. 126 Joy at Deliverance of Emperor Franz Josef
Napoleon op. 156
Persischer op. 289 Persian March (1864)
Egyptischer op. 335 Egyptian March (1869)
Jubelfest op. 396 Jubilant Festival
Russischer Marsch op. 426 Russian March (1886)
Spanischer Marsch op. 433 Spanish March (1888)
Deutschmeister Jubiläumsmarsch op. 470
Auf's Korn! op. 478 Take Aim!

Film adaptations

An Academy Award-winning 1953 Tom and Jerry cartoon, Johann Mouse, was made in honour of Johann Strauss II, and features the Kaiser-Walzer op.437 Emperor Waltz (1888).

The lives of the Strauss dynasty members and their world-renowned craft of composing Viennese waltzes are also briefly documented in several television adaptations, such as 'The Strauss Dynasty' (1991) [1] and 'Strauss, the King of 3/4 Time' (1995) [2].

Many other films used his works and melodies, and several films have been based upon the life of the musician.

Alfred Hitchcock made a low-budget biography of Strauss in 1933 called Waltzes from Vienna.

Media

Blue Danube

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The Blue Danube of Johann Strauss II

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External links