Josef Strauss

1.1. Early Life and Education

Josef Strauss was born on August 20, 1827, in Mariahilf, then a suburb of Vienna, to renowned composer Johann Strauss I and Maria Anna Streim. He was the second son in the family, with elder brother Johann Strauss II and younger brother Eduard Strauss. Within his family and among close friends, he was affectionately known as "Pepi". From a young age, Josef exhibited a frail constitution, which was attributed to a congenital brain condition affecting his spine. This inherent frailty contrasted with his brother Johann II's more outgoing personality, as Josef developed a reserved and nervous temperament.

Their mother ensured both Josef and Johann received piano lessons early in life, and they quickly grasped musical notation. Growing up in a household dominated by their father's musical career, the brothers' playtime often revolved around music. They would listen intently to their father's rehearsals from his study and then practice four-hand piano arrangements of his pieces. Johann II later recalled that both he and Josef could "truly say they played the piano perfectly" and were often invited to homes where they would play their father's compositions from memory, receiving applause. Their father, initially indifferent to their piano studies, was astonished when informed of their proficiency by music publisher Anton Tobias Haslinger. Josef famously remarked upon seeing an upright piano, "I can't play on such a piano," leading his father to bring out his grand piano, after which the brothers impressed him with their diverse playing styles and were rewarded with fine hooded cloaks.

In contrast to his elder brother, who followed their father into music, Josef initially showed no desire to become a musician. After graduating from the prestigious Schottengymnasium high school, he enrolled in the technical department of Vienna's Polytechnic Institute (now TU Wien), where he studied mechanical engineering, drafting, and mathematics. Despite inconsistent attendance, he achieved a top-grade "first class" in his final exams.

During the Revolutions of 1848, Josef sided with the revolutionaries, taking up arms. On December 23 of that year, his father ordered him to join the military, but Josef refused, stating, "I do not wish to learn to kill. I want to serve humanity as a human being and the state as a citizen." His father's death the following year spared Josef from military service, allowing him to pursue an engineering career.

1.2. Engineering Career and Early Compositions

Josef Strauss steadily built his engineering career. In 1851, he managed the construction of stone dams and sluices along a tributary of the Danube River as a site supervisor. In 1852, he published "A Collection of Examples, Formulas, Tables, and Tests in Mathematics, Engineering, Geometry, and Physics," a testament to his academic pursuits. The following year, in 1853, he and a colleague submitted a proposal to the Vienna City Council for a street sweeper with rotating brushes. Although initially deemed "impractical" and rejected, the design was later adopted and is recognized as a precursor to modern street-cleaning systems. Josef also intended to submit a design for a snowplow, though it never materialized.

Alongside his engineering work, Josef indulged in his passion for music as a hobby, composing songs and piano pieces that were primarily performed among his friends. According to Franz Meiller, Josef was a "splendid pianist and singer" who frequently composed such works in social settings. Musicologist Otto Brusatti noted that Josef's earliest known composition, "Grand Galoppe du Concert," was written in 1849. He also authored a five-act play titled "The Robber," for which he wrote the text, designed the stage sets, and sketched characters, costumes, and backdrops. These early creative endeavors showcased his diverse talents as an artist, painter, poet, dramatist, singer, composer, and inventor.

1.3. Transition to Music

The circumstances of Josef Strauss's entry into the professional music world were largely influenced by his family and the strain on his elder brother. After the death of their father, Johann Strauss I, in 1849, Johann Strauss II became the sole "Johann Strauss," inheriting all the musical engagements across Vienna. This intense workload of daily concerts and compositional activities frequently led to Johann II's severe illnesses, often rendering him seemingly incapacitated. Doctors repeatedly advised Johann II to take long periods of rest.

Their mother, Maria Anna Streim, began to consider Josef as a temporary replacement to conduct the Strauss Orchestra, a suggestion supported by Johann II. Josef, with his quiet and reserved nature, strongly resisted, not believing himself capable of thriving in the glamorous world of music like his brother. However, faced with his mother and brother's insistence "for the sake of the Strauss family," he eventually yielded.

On July 23, 1853, Josef made his conducting debut at Café Sperl in place of his convalescing brother. On that day, Josef wrote to his fiancée and future wife, Caroline Josepha Pruckmayer, stating, "The inevitable has happened. Today I play for the first time at 'Sperl.' I regret with all my heart that this has happened so suddenly." Soon, Josef was compelled not only to conduct but also to compose new waltzes as his brother's substitute. Johann II had accepted a commission to compose a waltz for the annual Hietzing Church Festival, but his extended convalescence meant the August 29 performance date was fast approaching. Josef reluctantly took on the composition, resulting in the waltz Die Ersten und Letzten (The First and the Last), Op. 1. The title of this piece clearly conveyed Josef's feelings at the time, expressing his hope that it would be his only foray into professional composition. However, the waltz was praised by newspapers as "superb, original, and rhythmically melodious," raising public expectations for Josef. It was encored six times, and many newspapers the next day concluded with phrases like, "We hope this will not be Josef Strauss's last work."

In mid-September, Johann II returned to Vienna, and Josef, suffering from eye strain and headaches, immediately stepped down as temporary conductor. However, in early June 1854, Johann II again fell ill and departed for recuperation. Once more, Josef was called upon to deputize for his brother, conducting the Strauss Orchestra and composing several pieces. During this period, Josef agonized over his future, writing to Caroline, "I am troubled about what I should do." Despite his initial reluctance, Josef eventually resolved to pursue a musical career, publishing the waltz Die Ersten nach den Letzten (The First after the Last), Op. 12, in July 1854. While his previous works, like The First and the Last, were composed out of necessity as his brother's stand-in, this waltz signaled Josef's intention to remain in the world of music. That same year, he officially resigned from his engineering profession.

Upon deciding to transition to music, Josef dedicated himself to studying music theory, composition, and violin playing. His violin teacher, like his brother's, was Franz Amon, the principal violinist in their father's orchestra. On March 16, 1857, Josef completed two years of formal musical education, receiving a certificate from his harmony professor, Franz Dolleschal, stating he had "passed the examination on thorough bass and the principles of composition with excellent grades" and guaranteeing his "greatest practical ability in music." Works from this period include the polka-française Moulinet (Little Mill Pond), Op. 57, which is still frequently performed today, and the waltz Flattergeister (Joy Seeker), Op. 62, which quickly became a popular Viennese tune. In June 1858, Josef premiered a waltz titled Ideal, which was lauded as a "masterpiece" by newspapers, but the manuscript was unfortunately lost and never published.

1.4. Musical Career and Style

Josef Strauss's musical career saw him develop a distinctive style, influenced by Romanticism, and reach a peak of creative output, often in friendly rivalry with his brother.

1.5. Personal Life

Josef Strauss married Caroline Josepha Pruckmayer on June 8, 1857, at the Church of St. Johann Nepomuk in Vienna. Caroline had previously been Johann Strauss II's romantic interest. The couple had one daughter, Karoline Anna Strauss, who was born on March 27, 1858. Johann II later sent a suggestive letter from Pavlovsk to his sister-in-law Caroline, hinting at a desire for a son and offering his "cooperation."

1.6. Illness and Death

Josef Strauss suffered from ill health for most of his later life, frequently experiencing fainting spells and severe headaches. On October 10, 1869, the Pavlovsk railway company informed the Strauss brothers that they would contract with other musicians after 1870, specifically mentioning Benjamin Bilse of Prussia. Aiming for the post Bilse would vacate in Warsaw, Josef secured a contract from May 15 to September 15, 1870. Despite his mother Anna's objections, Josef, eager for success, sought to achieve the same fame in Warsaw that his brother had found in Pavlovsk. This contract, however, ultimately hastened his demise.

His work in Warsaw was plagued with problems. Due to customs differences, scores and instruments were delayed, and his reserved accommodation was unavailable. Many musicians failed to arrive due to the agent's oversight. Two days after the scheduled start date, on May 17, Josef wrote to his brother, "I am depressed. There is no prospect of when it will begin. By the time this letter reaches you, the catastrophe will have reached its peak..." With assistance from his younger brother Eduard, Josef finally held his first concert on May 22.

However, just 10 days later, on June 1, due to worry and fatigue, Josef suddenly collapsed on the conductor's podium during a performance at the "Swiss Valley" concert hall, striking his head. He was taken back to his lodgings, unconscious. When his wife Caroline rushed from Vienna to Warsaw on June 5, she found Josef, as Eduard later described, "paralyzed in his limbs and barely able to speak." The Polish doctor who examined him diagnosed signs of a stroke and a possible ruptured brain tumor. Josef's condition stabilized briefly before he suffered a relapse on June 15. With the Warsaw contract still active, Johann II urgently traveled to Warsaw to take over the conducting duties.

On July 17, Caroline decided to bring her ailing husband back to Vienna. Josef was reportedly conscious at this point. On July 22, at 1:30 PM, Josef Strauss passed away at the Strauss family residence, the Hirschenhaus. His widow, Caroline, refused an autopsy, so the precise cause of death remains undetermined. Rumors, entirely unfounded, spread across Europe that he had been beaten by drunken Russian soldiers after allegedly refusing to perform for them one night, and this narrative was widely believed despite official denials.

Josef was initially buried in St. Marx Cemetery. He was later exhumed and reburied in the Vienna Central Cemetery, alongside his mother, Anna.

2.1. Waltzes

Josef Strauss's waltz compositions showcase his unique lyrical and sophisticated style. Among his most famous are:

• Die Ersten und Letzten (The First and the Last), Op. 1 (1853)
• Die Ersten nach den Letzten (The First after the Last), Op. 12 (1854)
• Die Guten, Alten Zeiten (The Good Old Times), Op. 26 (1856)
• Mai-Rosen (May-Rose), Op. 34 (1857)
• Perlen der Liebe (Pearls of Love), concert-waltz Op. 39 (1857)
• Flattergeister (Joy Seeker), Op. 62
• Dorfschwalben aus Österreich (Village Swallows from Austria), Op. 164 (1864)
• Dynamiden (Mysterious Powers of Magnetism), Op. 173 (1865)
• Transaktionen (Transactions), Op. 184 (1865)
• Deutsche Grusse (German Greetings), Op. 191
• Delirien (Deliriums), Op. 212 (1867)
• Marien-Klänge (Music of the Madonna), Op. 214
• Studententräume (Students' Dreams), Op. 222
• Herbstrosen (Autumn Rose), Op. 232 (1867)
• Sphärenklänge (Music of the Spheres), Op. 235 (1868)
• Ernst und Humor (Seriousness and Humor), Op. 254
• Watercolours, Op. 258 (1869)
• Mein Lebenslauf ist Lieb und Lust (My Character is Love and Joy), Op. 263 (1869)
• Nilfluthen (Nile's Waters), Op. 275 (1870)
• Frauenwürde (Woman's Dignity), Op. 277 (1870)
• Hesperusbahnen (Hesperus' Path), Op. 279 (1870)

2.2. Polkas

Josef Strauss composed various types of polkas, including polka-française and polka-schnell. His polka compositions often feature wit and humor.

• Moulinet-Polka (Little Mill Pond), polka-française Op. 57 (1858)
• Laxenburger-Polka, Op. 60 (1858)
• Die Soubrette (The Soubrette), polka-schnell Op. 109
• Winterlust (Winter Joy), Op. 121 (1862)
• Auf Ferienreisen! (On a Holiday!), polka-schnell Op. 133 (1863)
• Rudolfsheimer (People of Rudolfsheim), polka-schnell Op. 152
• Sport-Polka, Op. 170 (1864)
• Die Spinnerin (The Spinner), polka-française Op. 192
• Die Marketenderin (The Camp Follower), Op. 202 (1866)
• Wiener Leben (Viennese Life), polka-française Op. 218
• Im Fluge (In a Hurry), polka-schnell Op. 230
• Eingesendet (Letters to the Editor), polka-schnell Op. 240 (1868)
• Plappermäulchen (Chatterboxes), polka-schnell Op. 245 (1868)
• Eislauf (Ice-Skating), polka-schnell Op. 261 (1869)
• Feuerfest! (Fireproof!), polka-française Op. 269 (1869)
• Ohne Sorgen! (Without a Care!), polka-schnell Op. 271 (1869)
• Kunstler-Gruss (Artist's Greeting), polka-française Op. 274
• Jokey-Polka (Jockey), Op. 278 (1870)
• Heiterer Muth (Good Cheer), polka-française Op. 281
• Pizzicato Polka: Co-written with his brother Johann II, without opus number.

2.3. Polka-Mazurkas

Josef Strauss's polka-mazurka compositions often demonstrate his distinctive originality and poetic depth.

• Sympathie (Sympathy), Op. 73 (1859)
• Brennende Liebe (Burning Love), Op. 129 (1862)
• Die Schwätzerin (The Gossip), Op. 144 (1863)
• Frauenherz (A Woman's Heart), Op. 166 (1864)
• Stiefmütterchen (Pansies), Op. 183 (1865)
• Die Libelle (The Dragonfly), Op. 204 (1866)
• Arm in Arm (Arm in Arm), Op. 215
• Aus der Ferne (From Afar), Op. 270 (1869)
• Die Tanzende Muse (The Dancing Muse), Op. 266 (1869)
• Die Emancipierte (The Emancipated Woman), Op. 282 (1870)
• Neckerei (Teasing), Op. 262

2.4. Marches

Josef Strauss also contributed to the march genre.

• Liechtenstein-Marsch, Op. 36 (1857)
• Wallonen-Marsch (Walloon March), Op. 41 (1857)
• Japanesischer Marsch (Japanese March), without opus number. While published scores sometimes list this as Op. 124, that opus number also belongs to the waltz Glückskinder (Children of Fortune), and the latter is usually referred to when Op. 124 is mentioned.

2.5. Other Works

Beyond his popular dance music, Josef Strauss composed other types of pieces, including piano works and fantasies.

• Piano Pieces:**
  • Grand Galoppe du Concert (Grand Concert Gallop)
  • Capprice (Caprice)
  • Thême variée (Varied Theme)
  • Grand Marche du Concert (Grand Concert March)
  • Melancholie (Melancholy)
  • Rhapsodie (Rhapsody)
  • Serenade (Serenade)
  • Abendläuten (Evening Bells)
• Fantasies:**
  • Allegro Fantastique (Fantastic Allegro)
  • Peine du Coeur (Heartache or Love's Suffering), an orchestral fantasy

3.1. Contemporary and Historical Reception

Josef Strauss's unique musical talent was recognized by his contemporaries, including his brother Johann Strauss II, who famously stated, "Pepi is the more gifted of us two; I am merely the more popular." This sentiment underscored the artistic depth and originality of Josef's compositions, which often surpassed mere dance music. His lyrical and profound style, heavily influenced by Franz Schubert, earned him the moniker "Waltz Schubert." Critics of his time appreciated his pursuit of "symphonic waltzes" and his ability to infuse his dance pieces with a richer musicality.

Despite his brilliance, Josef's compositions were often overshadowed by the immense popularity of his elder brother. Their works were frequently grouped together under the Strauss name, and Josef's compositions were sometimes even mistakenly printed with "Johann Strauss" on their covers. However, history has increasingly acknowledged Josef's significant contributions to Viennese dance music, recognizing his pioneering efforts in elevating the waltz form and his distinct voice within the Strauss family. His works are now highly regarded for their artistic merit and innovative qualities.

3.2. Posthumous Influence and Controversies

Losing both his mother and his younger brother within a short period caused Johann II to temporarily lose his creative drive. Philipp Fahrbach the Younger, a close acquaintance, later composed a waltz titled Erinnerung an Josef Strauß (Memories of Josef Strauss) in his honor. Josef had also aspired to compose operas, symphonies, and lieder, but these dreams remained unfulfilled. The Morgen-Post newspaper wrote in his obituary, "Josef died without fulfilling the greatest ambition of his life: to compose a grand opera." In 1869, Josef had mentioned that he was "turning to a different kind of composition," and both his wife Caroline and his daughter, also named Caroline, wrote about an operetta that Josef supposedly composed, but this work mysteriously disappeared after his death.

After Josef's death, his wife and daughter continued to live in a room at the "Hirschenhaus," where the orchestra practiced. A rumor circulated that Johann II, in exchange for providing financial support to Josef's widow, acquired all of his brother's manuscripts. This rumor suggested that Johann II intended to plagiarize his brother's unreleased works, approached the widow under the guise of financial assistance, had a physical relationship with her to obtain the manuscripts, and then used these posthumous papers to compose the operetta Die Fledermaus (The Bat). The origin of this specific rumor, particularly concerning Die Fledermaus, appears to stem from his youngest brother, Eduard. The basis for these rumors included the fact that few posthumous works were found in Josef's study despite his prolific output, and that Johann II had given a large sum of money to the widowed Caroline. In reality, Johann II simply gifted Caroline the substantial earnings he received for taking over Josef's conducting duties in Warsaw. Furthermore, Johann II, as the executor of Josef's will, discovered only published works in his brother's study.

Thirty-three years after his death, in 1903, an operetta titled Frühlingsluft (Spring Air) was created, composed entirely of Josef's melodies. Subsequently, other operettas such as Women's Feelings, Swallows from the Vienna Woods, Beautiful Daughter, White Flag, Let's Enjoy Life, Waltz Dreams, and Sons of the Strauss Family were created using the music of Josef and Johann II. These works were often subtitled "Based on motifs by Josef Strauss" or "Music by the late Josef Strauss." Notably, a portion of the melody from his waltz Dynamiden was adopted by Richard Strauss in the "Baron Ochs's Waltz" in his opera Der Rosenkavalier. Additionally, Sphärenklänge (Music of the Spheres) and Mein Lebenslauf ist Lieb und Lust (My Character is Love and Joy) were used as theme music and the main song melody, respectively, in the German film Congress Dances.

His wife, Caroline, played a crucial role in preserving some of Josef's musical heritage. She retained his non-orchestral scores, such as piano arrangements. This proved significant when, on October 22, 1907, Eduard Strauss ordered the burning of the orchestra's scores, destroying seven carriage-loads of music. Due to Caroline's preservation efforts, some of Josef's manuscripts were spared and continue to exist today, serving as valuable primary sources given that most of the Strauss family's works only survive in published form after Eduard's purge.