1. Johann Strauss Sr., the most popular and successful conductor and composer of dance music of his time, discouraged his son's musical ambitions. Despite these objections, Johann Jr. studied with Joseph Dreschler, and, at age 19, conducted a program which included his own compositions, as well as his father's.
He earned the title "The Waltz King" because of his prolific output and frequent international tours with his own orchestra, which usually numbered about twenty-six. He was also an excellent self-promoter.
Prof. Franz Mailer of Vienna's Strauss Society tells us that for the private court balls, Strauss was allocated only fourteen musicians. The Emperor wanted no larger ensemble. A thirty-four-man group however played for the larger court balls, and for concerts, 48. 80, or even a hundred musicians were used.
We believe his touring orchestra (he had several auxiliary orchestras which were sent out under his name) consisted of: four first violins; four second violins; two celli; two bass viols; two flutes; two clarinets; one bassoon; one oboe; two trumpets; two horns; one trombone; one bass drum; one tympani; and one harp. Many wind players 'doubled' on several instruments. With this group, and their instruments, he traveled by stagecoach from Vienna to Saint Petersburg, Edinburgh, and points inbetween, as well as making an 1872 tour of the United States. When he was in Vienna, he would rush from gig to gig, conducting his several groups.
His best-known work,The Blue Danube was written in 1867.
Johann Strauss Jr. at DOMMAHER'S CASINO.
2.
Strauss, Johann II (b Vienna, 1825; d Vienna, 1899). Austrian composer, conductor, and violinist, eldest son of Johann Strauss, and deservedly known as ‘the Waltz King’. Because his father did not want his sons to choose mus. as career, worked as bank clerk but learned vn. secretly and studied comp. with Drechsler. In 1844 formed own orch. of 24 and appeared as cond. of his own and his father's waltzes in rivalry to his father (they also supported opposing sides in the 1848 revolution). When his father died, amalgamated both orchs. and toured Austria, Poland, and Ger. In 1855 engaged to direct summer concerts in Petropaulovsky Park, St Petersburg, for 10 years. Cond. of Austrian court balls 1863-72. Comp. nearly 400 waltzes which have come to epitomize Viennese gaiety and sentiment. Visited Paris 1867, London 1867, USA 1872. Turned to stage 1871, when first of a series of successful operettas was produced at the Theater an der Wien, the most famous being Die Fledermaus (1874). Of his waltzes, the Blue Danube (1867), Roses from the South (1880), the great Emperor Waltz (1888), and Tales from the Vienna Woods (1868) are beloved wherever mus. is played, as are his polkas and other dances. Was friend and admirer of Wagner, who, like Brahms and other composers incl. Schoenberg, were what we should now call ‘fans’ of Strauss, recognizing a supreme master of a genre who comp. with style, elegance, taste, and wit. Prin. works:
OPERETTAS: Indigo und die vierzig Räuber (1871); Der Karneval in Rom (1873); Die Fledermaus (1873-4); Cagliostro in Wien (1875); Prinz Methusalem (1877); Blindekuh (1878); Das Spitzentuch der Königin (1880); Der lustige Krieg (1881); Eine Nacht in Venedig (1883); Der Zigeunerbaron (1885); Simplicuis (1887); Ritter Pazman (1892); Fürstin Ninetta (1893); Jauka (1894); Waldmeister (1895); Die Götten der Vernunft (1897).
BALLET: Cinderella (1899; completed as Aschenbrödel by J. Bayer, f.p. Berlin 1901, f. Eng. p. Manchester 1979).
WALTZES: Abschied von St Petersburg, Op.210; Accelerationen, Op.234; An der schönen blauen Donau (On the beautiful Blue Danube), Op.314; Architektenball-Tänze, Op.36; Cagliostro, Op.370; Erinnerung an Covent Garden, Op.139; Freuet euch des Lebens, Op.340; Frühlingsstimmen (Voices of Spring), Op.410; Geschichten aus dem Wienerwald (Tales From the Vienna Woods), Op.325; Grossfürstin Alexandra, Op.181; Hofballtänze, Op.298; Juristenballtänze, Op.177; Kaiser-Walzer (Emperor Waltz) Op.437; Kronungslieder, Op.184; Künstlerleben, Op.316; Der Kuss, Op.400; Lagunen, Op.411; Liebesliederwalzer, Op.114; Morgenblätter (Morning Papers), Op.279; Nordseebilder, Op.380; O schöner Mai, Op.365; Rathausballtänze, Op.438; Rosen aus dem Süden (Roses from the South), Op.388; Schneeglockchen, Op.143; Seid umschlungen Millionen, Op.443; Wein, Weib und Gesang (Wine, Woman and Song), Op.333; Wiener Blut (Vienna Blood), Op.354; Wiener Bonbons, Op.307; Wo die Zitronen blüh'n, Op.364.
POLKAS: Aesculap, Op.130; Annen, Op.117; Armenball, Op.176; Aurora, Op.165; Bürgerball, Op.145; Champagne, Op.211; Damenspende, Op.305; Demolierer, Op.269; Electropher, Op.297; Explosionen, Op.43; Figaro, Op.320; Juristenball, Op.280; Lagerlust, Op.431; Leichtes Blut, Op.319; Pizzicato Polka (with Josef Strauss); Tritsch, Tratsch, Op.214; Unter Donner und Blitz (Thunder and Lightning), Op.324.
Early published orchestrations included strings, double woodwinds, four horns, two trumpets, one trombone, two percussionists, and occasionally, one harp.
From 1870 onwards, three trombones and tuba were usual.
The list of compositions below includes all published ones, we believe that there were many others which were not published. All of the published works, except for about five major waltzes, were published for piano alone. The great waltzes (available from Dover Books) were published in concert, not dance arrangements. We know very little about how the Strauss orchestra actually played for dancing. All of the Strauss 'dance' Strauss' orchestrations were lost.
3. Mozart
Mozart is universally recognized as a musical genus. He was born in 1756, in Saltzberg, in a small town at the base of a mediavel hill fort in Central Austria.
About three years old his father recognized him as musically talented. From then on Mozart was a show kid, and his father was his handler. He spent half his life before the age of fifteen traveling and performing before the crown heads of Europe, the aristocracy, and in halls for anyone who would pay to come.
In 1777, at 21, he went on a job hunting trip across Europe with his mother. She died on the trip in Paris in 1778. He failed to find a position that satisfied him with a court or the church. So he headed back to Saltzberg to work with his father for the archbishop. By 1781, he had irritated his boss, the Saltzberg archbishop, sufficiently to get him self fired.
So at 25, he moved to Vienna, met Haydn (who was twice his age), and married Constanza Weber. His father did not approve of the marriage; he felt that Constanza was not of the appropriate class to advance Mozart's career. In this period of declared independence from his father Mozart matured muscially, he began a decade of production that has made him justly famous. He died 11 years later at 36, after a year long illness of some unspecified disease. He was buried in a common grave outside the city walls of Vienna; with few mourners to see him off.
According to Stephen Vogle, we know a great deal about Mozart's youth because in he was on the road so much that he kept in contact with the family by writing, and the letters still exist. The raw facts most people agree about. However because of the importance of Mozart, historians and pundits of every age have added their own interpretation of these facts to prove something about the way humanity treats its artists. The result is a huge number of myths about Mozart's life. The muscial/film Amadeus has done its own damage in our generation. No one really knows if Mozart was poor; he certainly was not rolling in money since there were times he didn't have the cash to pay the rent. However, conversion between of the time to today's money makes no sense. One just has to have a feel for ordinary expenses of the day and how much money Mozart was making. He was not however on the edge of poverty, because he was living in a reasonable flat and supporting his wife. He may often have been cashless for the moment (and who doesn't), but just as clearly he had a reasonable amount of income; he probably didn't manage money well.
Modern scholarship has demolished the idea that he was buried in a pauper's grave with no one to say bye-bye. Mozart was buried in a common grave, and covered with lime the same way that everyone was buried rich or poor. The Vieneese burial laws were universally hated and were changed not long after Mozart died permitting individual graves again. Normally many people did not go to see a person placed in the current common grave, a depressing affair; instead they attended the funneral service the day before.
Then there is the myth of Antonio Salieri; he didn't really poison Mozart. Mozart was probably killed by his doctor's treatments rather than his disease. Although to be fair, without modern medicine, the disease would probably have won eventually.
4.
Vienna (German: Wien [viːn], is the capital of Austria, and also one of the nine States of Austria. Vienna is Austria's primate city; with a population of about 1.7 million (2.3 million within the metropolitan area), and is by far the largest city in Austria as well as its cultural, economic and political centre. Vienna lies in the very east of Austria and is close to the Czech Republic, Slovakia and Hungary. In 2001, the city centre was designated a UNESCO World Heritage Site[3] and an Economist Intelligence Unit study of 127 world cities ranked it third for quality of life
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