Johann Strauss, the Younger | Austrian composer | Britannica.com Johann Strauss, the Younger Johann Strauss, the Younger, (born Oct. 25, 1825, Vienna , Austria —died June 3, 1899, Vienna), “the Waltz King,” a composer famous for his Viennese waltzes and operettas. Johann Strauss the Younger. Harris & Ewing Collection/Library of Congress, Washington, D.C. (Digital File Number: LC-DIG-hec-23696) Strauss was the eldest son of the composer Johann Strauss the Elder. Because his father wished him to follow a nonmusical profession, he started his career as a bank clerk. He studied the violin without his father’s knowledge, however, and in 1844 conducted his own dance band at a Viennese restaurant. In 1849, when the elder Strauss died, Johann combined his orchestra with his father’s and went on a tour that included Russia (1865–66) and England (1869), winning great popularity.

In 1870 he relinquished leadership of his orchestra to his brothers, Josef and Eduard, in order to spend his time writing music . In 1872 he conducted concerts in New York City and Boston. Strauss’s most famous single composition is An der schönen blauen Donau (1867; The Blue Danube ), the main theme of which became one of the best-known tunes in 19th-century music. His many other melodious and successful waltzes include Morgenblätter (1864; Morning Papers), Künstlerleben (1867; Artist’s Life), Geschichten aus dem Wienerwald (1868; Tales from the Vienna Woods), Wein, Weib und Gesang (1869; Wine, Women and Song), Wiener Blut (1871; Vienna Blood), and Kaiserwaltzer (1888). Of his nearly 500 dance pieces, more than 150 were waltzes. Among his stage works, Die Fledermaus (1874; The Bat) became the classical example of Viennese operetta .

Equally successful was Der Zigeunerbaron (1885; The Gypsy Baron). Among his numerous other operettas are Der Karneval in Rom (1873; The Roman Carnival) and Eine Nacht in Venedig (1883; A Night in Venice). Learn More in these related articles: Johann Strauss II, The Waltz King - Timeline Index Timeline Index Johann Strauss II, The Waltz King Johann Strauss II (the Younger), 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. More on this Website PLANET VIENNA - Johann Strauss Son (1825-1899) Johann Strauss Son (1825-1899) Johann Strauss II (German: Johann Strauï¿½ (Sohn), "Johann Strauss (son)"; in English also Johann Strauss the Younger, Johann Strauss Jr., Johann Sebastian Strauss) (October 25, 1825 ï¿½ 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. 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 rï¿½pï¿½titeur 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 'Geiï¿½elhiebe 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. 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 "Heute 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 Sï¿½ngerfahrten op. 41, Liebeslieder op. 114, Nachtfalter op. 157, Accelerationen op. 234 and the polkas Annen op. 117, and Tritsch-Tratsch-Polka op. 214. 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','Mï¿½rchen aus dem Orient' op. 444 and 'Klug Gretelein' op. 462. 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 he 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. 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 Lehï¿½r 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 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. 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 Sï¿½den' Walzer op. 388. He also wrote an opera, Ritter Pï¿½smï¿½n 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 Aschenbrï¿½del. 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, Carl Michael Ziehrer.

Works of Johann Strauss II Operetta listed chronologically within category (with date of composition or first performance) * Indigo und die Vierzig Rï¿½uber 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 Kï¿½nigin 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) * Fï¿½rstin Ninetta Princess Ninetta (1893) * Jabuka - Der Apfelfest Apple festival(189

4) * Waldmeister Woodruff (1895) * Die Gï¿½ttin der Vernunft The Goddess of Reason (1897) * Wiener Blut (1899) * Ritter Pï¿½smï¿½n Knight Pï¿½smï¿½n (1892) Ballet * Aschenbrï¿½del Cinderella (1899) Waltz * Sinngedichte op.

1 Epigrams (1844) * Gunstwerber op. 4 Favour solicitor (1844) * Faschingslieder op. 11 Carnevalsongs (1846) * Jugendtrï¿½ume op. 12 Youth dreams (1846) * Strï¿½uï¿½chen op. 15 Bouquets (1846) * Sï¿½ngerfahrten op. 41 Singers' Journeys (1847) * Lava-Strï¿½me op. 74 Streams of Lava (1850) * Rhadamantus-Klï¿½nge op. 94 Echoes of Rhadamantus (1851) * Mephistos Hï¿½llenrufe op. 101 Cries of Mephistopheles from Hell (1851) * Liebeslieder op. 114 Lovesongs (1852) * Phï¿½nix-Schwingen op. 125 Wings of the Phoenix (1853) * Schneeglï¿½ckchen 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) * Morgenblï¿½tter op. 279 Morning Journals (1863) * Studentenlust op. 285 Students' Joy (1864) * Feuilleton op. 293 (1865) * Bï¿½rgersinn op. 295 Citizen Spirit (1865) * Flugschriften op. 300 Pamphlets (1865) * Wiener Bonbons op.

307 Viennese Sweets (1866) * Feenmï¿½rchen op. 312 Fairytales (1866) * An der schï¿½nen blauen Donau op. 314 On the Beautiful Blue Danube (1867) * Kï¿½nstlerleben 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 blï¿½hen op. 364 Where the Lemons Blossom (1874) * Du und du op. 367 You and you (1874) * Cagliostro-Walzer op. 370 (1875) * O schï¿½ner Mai! op. 375 Oh Lovely May! (1877) * Rosen aus dem Sï¿½den op. 388 Roses from the South (1880) * Nordseebilder op. 390 North Sea Pictures (1880) * Kuss-Walzer op. 400 Kiss Waltz (1881) * Frï¿½hlingsstimmen 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-Jubilï¿½um-Jubelwalzer op. 434 Emperor Jubilation (1888) * Kaiser-Walzer op. 437 Emperor Waltz (1888) * Rathausball-Tï¿½nze 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 * 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) * Vergnï¿½gungszug 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 * ï¿½ljen 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 schï¿½n! 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 Jubilï¿½umsmarsch 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) and 'Strauss, the King of 3/4 Time' (1995). 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.

Johann Strauss II | Play MP3 Music Online Classical Johann Strauss II (German: 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. The (in German) often used Strauß form is wrong, since he always wrote his name with ss and never with ß. Son of the composer Johann Strauss I, and brother to the composers Josef Strauss and Eduard Strauss, Johann II was the most famous of the family. According to the The Blue Danube Songfacts, his father did not wish him to become a composer, but rather a banker. Nevertheless, Strauss Junior studied the violin secretly as a child and when his father discovered his son secretly practicing the instrument one day, he gave him a severe whipping, saying that he was going to beat the music out of the boy. Fortunately, this did not discourage the budding musician.

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 Hapsburg 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. More recently, there is a concert broadcast on televi... Related Artist An der schonon blauen Donau, Op. 314 Login Johann Strauss II - MusicBrainz Johann Strauss II known for The Blue Danube ) 1 1993 1 2005 Showing official release groups by this artist. Show all release groups instead , or show various artists release groups .

Artist information Johann Strauss II, Willi Boskovsky, Johann Strauss Orchestra of Vienna - Famous Strauss Waltzes - Amazon.com Music A Kid's Review on August 29, 2002 Format: Audio CD The parties and popular dance music of the 19th century were different than our own party music, of course. But don't let this throw you off. Classical music, in every category, whether serious or festive, is always beautiful and recommendable. If you are a fan of classical music, and also enjoy partying, Strauss waltzes are always the best medicine. His jovial tunes, charming, endearing, playful and romantic, have captivated people for more than a century now. The greatest and most famous of all Johann Strauss waltzes (Johann II) is his Blue Danube Waltz- used in such films as 2001: A Space Odyssey, and epitomizes the waltz form.

Other waltzes that must be heard, for their elegance and their charm, are Roses From The South, the waltz-overture from his operetta Die Fledermaus (Strauss operettas each have at least one waltz or polka, and I highly recommend u listen to them), The Artists' Life, Vienna Blood, Tales From The Vienna Blood, Voices Of Spring and the Emperor's Waltz. This collection has a great variety of Strauss waltzes that are sure to lift your spirits and make you long for long, romantic evenings in old Vienna. Johann Strauss II biography - 8notes.com Johann Strauss II biography Biographies Letter S Strauss II biography Johann Strauss II June 3, 1899, Vienna Summary: Johann Strauss II (or Johann Strauss the Younger, or Johann Strauss Jr.) (October 25, 1825 - June 3, 1899) was an Austrian and German composer known especially for his waltzes, such as The Blue Danube.

Popular Sheet Music: Johann Strauss II The Waltz King coming to life in the Stadtpark , Vienna Johann Strauss II (or Johann Strauss the Younger, or Johann Strauss Jr.) (October 25, 1825 – June 3, 1899) was an Austrian and German composer known especially for his waltzes , such as The Blue Danube . Johann Strauss II was the son of Johann Strauss I , himself a composer. His brothers Josef Strauss and Eduard Strauss were also composers; but 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 was far superior to that of his predecessors (such as Josef Lanner and Johann Strauss I )--and has enjoyed greater fame.

Some of his polkas and marches are also well known, as is his operetta Die Fledermaus . Contents 2.6 March Biography Strauss was born in Vienna. 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 that he was fiddling away one day, 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 intending to avoid a Strauss rivalry, Strauss Sr. wanted his son to escape the rigors he understood to accompany a musical life. It was only when his father left the family and took on 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 from theorist Professor Joachim Hoffmann who owned a private music school. His talents were also recognised by composer Josef Drechsler (also spelt as Drexler) who taught him exercises in harmony.

His other violin teacher, Anton Kollmann who was the ballet r�p�titeur of the Vienna Court Opera also wrote excellent testimonials for him. Armed with these testimonials, he approached the Viennese authorities to apply for a license to perform and would initially form his small orchestra where he recruited his members from the tavern 'Zur Stadt Belgrad' where musicians seeking work could be hired easily. Johann Strauss I 's influence meant that many establishments were wary of offering the younger Strauss any contracts for fear of angering the former. The younger Strauss was then able to persuade the Dommayer's Casino, Hietzing in Vienna to give him a chance at his debut. The local media were soon frantically reporting of a 'Strauss v. Strauss' rivalry between father and son. Strauss senior himself, in anger at the prospect of his son disobeying his wishes, also would not play at the Dommayer's Casino ever in his lifetime, which was surprising as the Hietzing establishment was the site of his many earlier triumphs. Strauss son found the early career years difficult but he soon won over audiences after accepting commissions to perform away from home.

The first major appointment for the young composer would be his award of the honorary position of 'Kapellmeister of the 2nd Vienna Citizen's Regiment' which was left vacant following Josef Lanner 's death two years before. He would eventually proceed to surpass his father's fame, and become the most popular of all waltz composers, 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 which is proof of his astuteness in business, Britain where he performed with his first wife Jetty Treffz at the Covent Garden, France , Italy and the United States where he took part in the Boston Festival and was the lead conductor in the 'Monster Concert' of over 1000 musicians.

Vienna was racked by a bourgeois revolution on 24th February 1848 and the intense rivalry between father and son became more apparent and eventually, Johann the younger decided to side with the revolutionaries; a decision which was both musically and professionally at his disadvantage as the Austrian royalties twice denied him the much coveted KK Hofballmusikdirektor position, which was first designated specially for Johann Strauss I in reward for his musical contributions. Further, the younger Strauss was also hauled up by the Viennese authorities for publicly playing the infectious La Marseillaise which stoked revolutionary feelings. When the elder Strauss passed away from scarlet fever in 1849 in Vienna, the younger Strauss merged both their orchestras and engaged in tours as mentioned above. He married the singer Jetty Treffz and applied for the KK Hofballmusikdirektor Music Director of the Royal Court Balls position which he eventually achieved after being denied several times before. His involvement with the Court Balls meant that his work has been elevated to a supreme standard. His second wife, Angelika Dittrich 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 and therefore he changed religion and allegiance and became a citizen of Coburg-Saxe-Gotha. Strauss II sought solace in his third wife Adele and she encouraged the creative talent to flow once more in his later years, resulting in much finer music such as those found in the operettas 'Der Zigeunerbaron' and 'Waldmeister' and the waltzes 'Kaiser-Walzer','Kaiser Jubilaum','M�rchen aus dem Orient' op.444 and 'Klug Gretelein' op. 462. Strauss had an astute business mind which he utilised to the fullest. 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 an impossible commission. 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 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 mark punctuations. The polka also underwent development from a Bohemian peasant dance in the 1840s to one which generated interest in serious musical societies in Vienna. Strauss brilliantly displayed its potential with the Unter Donner Und Blitz 'Thunder and Lightning' op. 324 and the cheerful Tritsch-Tratsch-Polka op.214 which can be literally translated as 'chit-chat' in English. The Strauss family was not without its 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. Much earlier, Johann Strauss I faced a long rivalry with fellow composer Josef Lanner and Josef Gung'l . Ziehrer would eventually eclipse the Strauss family after Johann and Josef's deaths and posed more than a challenge to the superiority of 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 Leh�r would usher in the Silver Age in Vienna and most certainly sweep aside Strauss dominance in the operetta world. He was much admired by prominent composers of the day, including Richard Wagner who once admitted that he admired the waltz Wein, Weib und Gesang op.333 and Johannes Brahms to whom he dedicated his popular waltz Seid umschlungen Millionen 'Be Embraced Millions' op.443 inspired by a poem by Schiller , who was also a personal friend.

Other admirers include the famous Richard Strauss who, when writing his Rosenkavalier waltzes said 'How could I forget the laughing genius of Vienna?' which made a clear reference to the genius of Johann Strauss the younger. 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 . This has been attributed to the fact that Strauss was once considered to lack dramatic and theatrical sense, although his musical prowess was never questioned. The result was a welter of fine music drawn from themes of his lukewarm operettas of which 'Cagliostro-Walzer' op.370 and 'Rosen aus dem S�den' Walzer op.388 were fine examples. His gift was evident especially in instrumentation but his apparent lack of dramatic sense has led many 'serious music' enthusiasts to dismiss his works as mere 'light music'.

One such example was the failure of his only opera Ritter P�sm�n 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 . 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 and allowed many generations after to appreciate and love the waltzes and polkas of the famed Strauss family. Such was the popularity of the music of the Strauss family that 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 between the other popular waltz and march composer, Karl Michael Ziehrer . Strauss' music is now regularly performed at the annual Neujahrskonzert of the Vienna Philharmonic Orchestra , thanks to the efforts of the late Clemens Krauss who performed a special all-Strauss programme in 1929 with the established orchestra. Many distinguished Strauss interpreters include Willy Boskovsky who carried on the 'Vorgeiger' tradition of conducting with violin in hand as is the Strauss family custom as well as the famous Herbert von Karajan and the opera conductor Riccardo Muti . Johann Strauss II died from pneumonia in Vienna in 1899 at the age of 74 and was buried there in the Zentralfriedhof .

Works of Johann Strauss II Operetta Johann Strauss II - Music on Google Play Johann Strauss II About the artist An Austrian composer of Viennese waltzes; known as "the Waltz King." His almost 500 dance pieces are his crowning achievement, while his Die Fledermaus is the epitome of operetta. Description provided by Mary K. Scanlan, Rovi Top songs Pyotr Ilyich Tchaikovsky 0 Pyotr Ilyich Tchaikovsky, often anglicized as Peter Ilyich Tchaikovsky, was a Russian composer of the late-Romantic period, some of whose works are among the most popular music in the classical rep... 0 Edvard Grieg 0 Edvard Hagerup Grieg was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. H... 0 Franz Schubert 0 Franz Peter Schubert was an Austrian composer. Schubert died before his 32nd birthday, but was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works, s...

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0 Frédéric Chopin 0 Frédéric François Chopin, born Fryderyk Franciszek Chopin, was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for the solo piano. He gained and has maintained renown... 0 0 Josef Strauss was an Austrian composer. He was born in Vienna, the son of Johann Strauss I and Maria Anna Streim, and brother of Johann Strauss II and Eduard Strauss. His father wanted him to choos... 0 Johann Strauss I 0 Johann Strauss I was an Austrian Romantic composer. He was famous for his waltzes, and he popularized them alongside Joseph Lanner, thereby setting the foundations for his sons to carry on his musi... 0 Modest Mussorgsky 0 Modest Petrovich Mussorgsky was a Russian composer, one of the group known as "The Five". He was an innovator of Russian music in the romantic period. He strove to achieve a uniquely Russian musica... 0 Gustav Holst 0 Gustav Theodore Holst was an English composer, arranger and teacher. Best known for The Planets, he composed a large number of other works across a range of genres, although none achieved comparabl...

0 Johann Strauss II | Mp3z.nl 00:00 / 00:00 Johann Strauss II Johann Strauss II (German: 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. The (in German) often used Strauß form is wrong, since he always wrote his name with ss and never with ß. Son of the composer Johann Strauss I, and brother to the composers Josef Strauss and Eduard Strauss, Johann II was the most famous of the family. According to the The Blue Danube Songfacts, his father did not wish him to become a composer, but rather a banker. Nevertheless, Strauss Junior studied the violin secretly as a child and when his father discovered his son secretly practicing the instrument one day, he gave him a severe whipping, saying that he was going to beat the music out of the boy. Fortunately, this did not discourage the budding musician.

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 Hapsburg 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. More recently, there is a concert broadcast on television and radio to many countries worldwide The New Year Concert of the Vienna Philharmonic Orchestra. This concert is a celebration of the music of the Strauss family, and has also become a traditional way to see in the New Year. This concert is played live each year in the morning of January 1 in Vienna, Austria. Due to the worldwide popularity of the event, which is always a packed venue, tickets are drawn by lottery if you want to attend the concert. Each year at this concert a different conductor is chosen and some pick a general theme of that days concert.

Among such themes of recent years were the launching of the European currency the Euro, and the expansion of the European Union. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply. Johann Strauss II | Biography, Albums, Streaming Links | AllMusic Johann Strauss II Biography by Robert Cummings Johann Strauss II (1825-1899) was an Austrian composer of the 19th century, celebrated for his waltzes and operettas.

Question: Which 19th century Austrian composer is famous for his waltzes such as "The Blue Danube" and "Tales of the Vienna Woods", and the operetta "Die Fledermaus"?
Answer: Johann Strauss