Celebrating Johann Strauss Jr.'s 200th birthday

Picture this! It’s June 1872. Johann Strauss Jr., the Waltz King, is in Boston, one of 14 stops on a whirlwind American tour. In front of him is an orchestra of more than 1,000 players and a choir of (not a misprint) 20,000 singers! Strauss Jr. himself prepares to conduct this massive ensemble with a specially illuminated baton that is over a foot long (it must have looked like a light saber!). Scattered around the ensemble are 20 assistant conductors. You can only imagine the noise!

While the music making was probably less than ideal, Strauss Jr. could still smile from ear to ear. His fee was worthy of a “king,” even a “Waltz King.” But it wasn’t always smiles.

The elder Johann Strauss was a well-known director in Vienna. As a director of musical entertainments, he was first among equals, his orchestra considered one of the best. By the time his eldest son was born, Strauss Sr. had already obtained the coveted title of Imperial Director of Court Dance Music. But even with the title, and the accolades that accompanied it, the long hours of work and the late nights often took an emotional and physical toll. While Strauss Jr. showed musical promise, Strauss Sr. was determined to squelch any desire his eldest son may have had for a music career. Strauss Sr. was adamant that Strauss Jr. would be a banker! So, he was enrolled in the prestigious Vienna Polytechnic Institute (now the Vienna University of Technology, aka TU Wien) where, in 1843, the 18-year-old Strauss Jr. achieved a “First with Distinction” in bookkeeping.

But the call to music was overwhelming, and against his father’s wishes, Strauss Jr. dropped out, left accounting and started his own orchestra. The tense relationship between father and son was only made worse by their professional rivalry. 

However, the Viennese loved that both Strauss Sr. and his son had their own ensembles. There was plenty of work, and both orchestras found success and partisans. Gossip and sniping about which orchestra was better, and who was the better composer, filled the newspapers. At the time, the political and cultural establishment favored Strauss Sr., while the younger and more politically liberal Viennese favored Strauss Jr. One night, while playing to his younger audience, Strauss Jr. and his orchestra performed “the Marseillaise” — the national anthem of France. It was poke in the eye of the establishment, and he ultimately paid a price. For his “subversive” act, the younger Strauss was arrested and questioned by the police. Fortunately, for music lovers, the case was eventually dropped.

While all of this was going on, one Viennese critic, striking a conciliatory tone, commented, “The senior Strauss’ name will be worthily continued in his son; children and children’s children can look forward to the future, and three-quarter time will find a strong footing in him.” 

The rivalry of father and son might have gone on for another generation if the elder Strauss hadn’t suddenly died. He was 46. Overwork, no doubt, contributed to his quick decline. The year was 1849, and all of Vienna sensed a turning point.

Just 24, Strauss Jr. decided to combine his orchestra with that of his father and, wasting no time, the Strauss Family Orchestra worked to claim the musical heart of Vienna. The orchestra became a phenomenon. To keep pace with the demand, the orchestra was separated into six distinct symphonic ensembles. On many nights, Strauss Jr. crisscrossed Vienna, conducting one of the six in a few numbers before heading to a next venue. Strauss Jr. also began composing at a fiendish pace. Polkas, quadrilles, schottisches and waltzes seemed to flow effortlessly from his pen. Inspiration came from everywhere, even the operas of Wagner and Verdi. The Viennese couldn’t get enough. In 1852, a French journalist visiting Vienna wrote, “In every house and on every piano lie [the music of] Strauss II!”

His catalogue would grow to more than 500 titles. Many of the waltzes, the 1867 Blue Danube in particular, became overnight international sensations. The number of pieces is even larger when you consider the dance music composed by his younger brothers, Josef and Eduard, fellow band leaders in the Strauss family business.

So it wasn’t long before all of Europe (and America) was clamoring for the Waltz King’s colorful, memorable melodies, and lively, lilting dance rhythms. Tours sold out.

Inevitably, the invitation came for Strauss Jr. to perform in America. He was treated like a rock star. And while he couldn’t speak a word of English, his adoring crowds didn’t mind. According to one New York City commentator, “Johann Strauss, the Waltz King, is a good fellow. He talks only German but smiles in all languages!”

And so does the music — even after 200 years.

Johann Strauss Jr.’s Top 10 Waltzes

In celebration of Strauss Jr.’s 200th anniversary, host Steve Staruch has compiled the Austrian composer’s top 10 waltzes for your enjoyment. Let the music carry you away!

1. By the Beautiful Blue Danube (An der schönen, blauen Donau)

2. Vienna Blood (Wiener Blut)

3. Voices of Spring Waltz (Frühlingsstimmen)

4. Artist’s Life Waltz (Kunstler-Leben)

5. Roses from the South Waltz (Rosen aus dem Süden)

6. Morning Papers Waltz (Morgenblätter)

7. Treasure Waltz (Schatz-Walzer)

8. Harvest Dances Waltz (Ernte-Tänze)

9. Fairy Tales Waltz (Feenmärchen)

10. Tales from the Vienna Woods Waltz