By Strauss, Johann; Strauss, Johann; Lang, Zoë Alexis
The Legacy of Johann Strauss examines buildings of Austrian id throughout the reception of Johann Strauss Jr.'s waltzes within the 20th century. Zoë Lang argues that the song of Strauss Jr. remained renowned since it endured to be revitalized by way of Austrians looking to outline their tradition. Press assurance from the 1925 centennial occasion of Strauss Jr.'s beginning celebrations in Vienna indicates how he used to be reinvented for the recent, post-Habsburg kingdom. The e-book additionally features a dialogue of the origins of the Vienna Philharmonic's New Year's live performance and considers how Strauss Jr. used to be appropriated as a countrywide Socialist icon within the Nineteen Thirties and Forties. The Strauss family's Jewish ancestry is mentioned, besides the notorious forgery of forms approximately their lineage in the course of the Nineteen Forties. there's additionally a case learn of Strauss Jr.'s Emperor Waltz, contemplating its variegated utilization in live shows and flicks from 1925-1953
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Additional resources for The legacy of Johann Strauss : political influence and twentieth-century identity
Were certainly familiar with each other’s works. Both wrote waltzes for the Concordia Ball in 1863 and Strauss Jr. 37 However, no evidence remains to support the hypothesis. Another theory is that various Viennese musical figures, specifically the directors of the various theaters, took it upon themselves to influence Strauss Jr. ’s first wife, Henrietta Treffz, who had had a distinguished stage career as an opera singer until her retirement in the late 1840s and was well 24 The Legacy of Johann Strauss acquainted with the repertoire.
S biography: facts and fictions 33 with the revolutionaries, yet biographers believed that his liberal views directly contrasted with his father’s conservative ones. For later biographers, Old and New Vienna were embodied in these figures and their actions in 1848. The juxtaposition between Old and New Vienna was elucidated by Karl Kobald in his 1925 biography. , on the other hand, was characterized by Kobald in different terms: The motto of New Vienna was: live and let live. The substance of its existence: love, enjoyment, beauty, theater, dance, and music … And the great conductor of this luxurious, life-loving New Vienna, its great musical genius, was Johann Strauss Jr.
And his native city; the works were praised because they contained the musical encapsulation of Vienna and its unique culture. ’s pieces do not simply evoke images of the city in their titles, they also do so in the music. Consider, for instance, the zither found in the introduction of Tales from the Vienna Woods, an authentic instrument from the region incorporated into the piece. 42 More often, though, his ability to capture his city in music was less tangible, as can be seen in this description of his works from Karl Kobald’s 1925 biography: And even today, when an Austrian, Viennese, anywhere in the wide world hears Strauss’s wonderful, jovial melodies, he is afflicted by a deep homesickness, he laughs and cries, and in his mind appears the beautiful image of the beloved city on the Danube, the silhouette of the Stephansdom, of Kahlenberg, Schönbrunn Palace that in their blossoming, still gardens and hills surround the “beautiful blue Danube …”43 This passage paints a picture of Vienna by invoking several of its best-known locales.