The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-04-06
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ity. Tne lmmeQlate predecessors VI
Bach were Johann Rudolph Ahle' and
his son, George Able. In the oratorios
of the latter the form of the aria Is
clearly defined. With these introduce
tory steps toward the time OF Bach,
Handel and Mozart the subject of music
in Germany may safely for the pres
ent be abandoned.
ii.
Most of the histories of music, by
some singular oversight, ignore the
Strauss family. Possibly this is done
because, in the opinion of certain crit
les, the music composed by these mas
ters of dance rhythm Is not sufficiently
classic TO deserve mention alongside
the ponderous symphonies and dreary
sonatas of some of the heavier German
composers. But If 1t Is intended in u
history of music to give recognition to
genius which has thrilled and charmed
millions of people in all continents;
which has appealed, with equal certi-
tude of response to the learned and the
unlearned, wherever the witching
measures of the wGltz have been even
passably well sounded from strings or
brass instruments; and II something
Is to be said in behalf of the creator
of the light, or so-called "comic" opera
which to eight persons out OF every
ten, at least in America. is unques-
tionably the only form of opera known,
then it seems to us that it would be a
fatal error to neglect to accord mention
to the compositions of the two Johanns
and to Joseph Strauss.
The elder Strauss became q composer
owing to a singular circumstance. He
had been, for several Years, viola
player in the orchestra of Joseph Lam
ner, the then pet impresario of Vienna.
1t was Lanner's custom to produce new
waltzes upon stated occasions. rarely
composing them until q few hours be-
fore their production. Upon one of
these occasions, an important one, Lam
ner suddenly fell i'll. How to get the
waltz written in time was a problem.
Lanner vainly bethought him of every
known expedient. save one At last,
he sent to Strauss, asking him to take
the work in hand. Strauss did SO: the
waltz was played with the notes on the
score still wet from his pen and, next
day. all Vienna was whistling the
catchy music. That slight circum-
stance influenced him to found an or
chestra of his own, and to compose
waltzes and polkas for it, which he
continued to do until the day of his
death, Sept %, 1S49.
But it was in the younger Johann, son
Of this composer that the genius of the
Strauss family eliminated. Sixty-four
years ago, this son, then a lad of six
vars, composed waltz called the
II irst Thought" Since then waltzes
have proceeded from his prolific pen at
the rate of nearly eight year, notwith-
standing his activity as the composer
of light operas, as a conductor whose
travels have been ten times as varied
and far-reaching as had been those of
his father. and as biographer of that
father and a student of music. His
most celebra ted waltz. the ''Blue DAN
ube." is number 314 in the order of
its relation TO his other dance compost
tions, and altogether there are 44O of
these. His brother Joseph was also a
fertile composer. Although Joseph was
delicate of constitution and lived only
forty-three years, the number of his
original mpositions-chiefy waltzes
and polkas-was 2S3, in addition to
which he is credited with more than
300 arrangements. The other brother,
Eduard, has composed something like
200 dance pieces. but is better known as
the successor of Johann as executive
head of the Strauss orchestra at
Vienna.
We must not, however, conclude this
reference to the Strausses without add
ing a word concerning what has un-
doubtedly been the junior Johann's
greatest achievement-that Is to say.
his invention. If we may use the term,
of the Viennese type of light opera.
When Strauss turned to composing
operettas," writes Mr.. Finck, there
was great CONSERVATION, because it was
feared that the carnival in Vienna and
elsewhere would have to dispense there
after with its annual gifts from his pen.
These fears We're unfounded his oper-
atlas We're so full of waltz and polka
buds and full-blown roses that it was
easy to pick them for a concert-hall
and ballroom bouquet: so that some
of his best recent dance pieces are taken
from his operettas. Equally unfounded
were the fears that after devoting more
than quarter Of century to the
composition of dance music, Strauss
would be unable to win distinction as a
dramatic writer. In his first operettas,
1t Is true, the libretto was little more
than peg to hang on waltzes. polkas
and marches; but gradually be eman-
NOT I'M al Il
simple saltatorial style. until In The
Bat the Merry War and subsequent
works he created a new type of opar-
eta. with beautiful flowing, lyric mel
odies and stirring dramatic ensembles.
True, the waltz king is never quito
able to disguise his character, but in
this very fact lie the originality and
unique charm of the Strauss operetta.
1t is a new style of stage play-the
Austrian oDeretta-a new school of
comic opera; and ip creating this
Strauss placed himself far above his
father and his brothers. Milloecker
would not have been possible but for
Strauss. and Suppe did not write. his
best works until after Strauss had
shown the way"
The list of Strauss operettas COM
prises Indigo" 1871; "The Carnival in
Rome" 1873; 1.-THE Bat" 1874; "Cagl-
iostro," 1876; "Prince Methusalem,"
1877: "The Blind Mans Buff" 1873:
'The Queens Lace Handkerchief" 1880;
"The Merry War" 1881; "a Night In
Venice" 1888; 'The Gypsy Baron" 1886;
and "Slmplicius," 1887. In Mr.. Finck's
opinion there Is more good music in
these operettas than in those of any
other composer, not excepting Often
bach or Sullivan; the trouble with them
Is In the insipidity of their librettos.
Three years ago. Strauss produced a
grand opera. Ritter Pasman." which is
said to contain.a a. .fow of fresh and
natural melody like that which we find
In Schubert and Haydnn - He L. still