The waltzes of Johann Strauss II are among the most well-known pieces in the classical canon. “The Blue Danube” is recognizable by many laypersons who may or may not know the composer’s name, thanks in part to its inclusion in films like Stanley Kubrick’s “2001: A Space Odyssey.”
Some people are also aware that his father, Johann Strauss I, was a successful composer as well. In fact, Johann II wasn’t the only Strauss child to carry on the family’s musical legacy. Two of his other sons, Josef and Eduard, were also composers.
All wrote what’s euphemistically referred to as “light music.” As its name suggests, pieces in this category lack the weight of importance of a large-scale symphony or concerto. Most light music is written to accompany movement—polkas, marches, and (of course) waltzes. It also includes genres like the operetta, the opera’s shorter, more comical sibling. While dance music may not get the respect that music written for the concert hall does, it is more immediately enjoyable.
Johann I (1804–1849)
Johann Strauss I didn’t intend to found a family dynasty of musicians. Yet the Strauss patronymic eventually became “a worldwide brand,” as historian Leigh Bailey wrote.Johann I, like his sons, was highly prolific, but the only piece of his today that is regularly performed is the Radetzky March (Op. 228). This catchy, upbeat piece was highly popular through the early 20th century, when it was played around Austria to encourage patriotism during World War I. After the Hapsburg empire was dissolved, The Radetzky March’s reputation also declined and has never quite recovered. To add insult to injury, many people who hear the tune today believe it was composed by his son.
Johann II (1825–1899)
Johann II’s nickname was “Schanni.” When he said he wanted to be a composer, his father initially discouraged it. Like many artists who struggled before succeeding, Johann Senior knew the hardships involved and preferred that his son avoid them.
Schanni, therefore, went into banking instead, an occupation he loathed. He secretly played the violin and started a band. But his father used his influence to block Schanni’s early attempts to find venues to perform at. He even refused to play in places where his son was able to find a foothold.
Their rivalry grew greater during the revolutions that swept through Europe in 1848. Johann Junior chose the revolutionary side, while Johann I identified as conservative. Thankfully, the two reconciled shortly before Johann I’s death a year later.
After his father’s passing, Johann II soon eclipsed his father’s accomplishments, becoming known as “The Waltz King.” What was it that made Schanni’s music superior to other works in this genre?
While, on the surface, his waltzes are enjoyable and easy to listen to, there’s a hidden sophistication to them. Before Johann II came around, the waltz was a simple dance piece governed by “stamping and whirling,” as historian H.E. Jacob writes in “Johann Strauss - Father and Son - A Century of Light Music.” Strauss II transformed the genre, adding more complex orchestration and thematic development that varied melodies as they repeated.
Josef Strauss (1827–1870)
Josef, the middle brother, was known as “Pepi.” A prolific composer himself, he wrote over 300 dances. Though he experienced some sibling rivalry with Schanni, the two also admired one another’s work. Johann II once said, “Pepi is the more gifted of us two; I am merely the more popular.”One of Josef’s most celebrated pieces is “Music of the Spheres” (“Sphärenklänge”). Based on the ancient Greek idea that the celestial bodies produce music as they move through the sky, Josef’s composition evokes galactic grandeur and mystery. The piece uses more harmonic shifts than is usual for waltzes, and it’s full of smooth modulations.
Pepi’s music may be the most sublime of all the Strauss men. Had he not died prematurely—shortly before he turned 43—it’s possible he may have surpassed his elder brother’s reputation.
Eduard Strauss (1835–1916)
Eduard, the third and youngest of the three Strauss brothers, was known as “Handsome Edi.” Unlike his older brother Johann, there was no uncertainty about what young Eduard’s career would be. Though he was a fluent linguist who had a stint in diplomacy, music was now a family business.After the untimely death of his brother Josef, Eduard was given control of the Strauss Orchestra, an ensemble of professional musicians organized specifically to promote the family’s music. Eduard traveled widely, including two tours in America (in 1890 and 1900–1901), spreading the Strauss name and popularity.
As his nickname suggests, Handsome Edi was the best-looking of the Strauss brothers. But he wasn’t the most talented. While Eduard was prolific, his music was less respected.
The pieces the Strauss Orchestra played in their concerts reflected the family hierarchy of status: Johann II was the most represented in the repertoire, followed by their father Johann I, then Josef. Eduard did have a few fast polkas and arrangements that found their way into the lineup, however. Today, around 50 of his compositions are available through professional recordings.
