It soon became apparent that Johann II would become a serious musical rival to his father. For one memorable performance he directed an orchestra of 2000 and a 20,000-strong choir, with the help of 100 assistant conductors who valiantly attempted to keep the whole thing under control. Strauss’ third wife, Adele, was Jewish, as was his surviving stepdaughter, Alice Meisner-Strauss. He inherited the waltz form as developed by his father, Johann senior, and Josef Lanner – a short introduction, usually followed by five waltzes and a coda – and gave it symphonic coherence and heady nostalgia. The only sibling left alive, Eduard now resolved to honour an extraordinary private contract drawn up years before with Josef. Eduard also became responsible for running the Strauss family orchestra, and kept it going until disbanding it in 1901. In 1851 he married Elise Seiff with whom he has two children. Indeed, many aficionados think he was more talented than Johann II, an opinion his more famous brother shared. He was renowned in Europe during the Romantic movement. It is only thanks to the devoted efforts of societies and admirers the world over that much of it has been painstakingly reconstructed from existing performing parts.And yet the author of so many of these works, Johann II, hid an extraordinary secret – he was, in fact, a terrible dancer.“That’s why," he confided to a friend during one of his early Russian concerts, “I have to give a firm ‘no’ to the many tempting and alluring invitations to the dance.”  For more than 40 years, he directed the finest salon orchestras of 19th century Europe with a violin in one hand, a bow in the other, and inspired a dance craze to rival anything in nightclubs today. He died in June 1899.Strauss’ third wife, Adele, was Jewish, as was his surviving stepdaughter, Alice Meisner-Strauss.After the war, she was given back some of the family possessions that had been appropriated by the Germans and by Austria’s pro-Nazi regime. This less-than-happy arrangement survived only four years – Lili eventually went off with Franz Steiner, a theatre director. But she was immediately instructed to sell them back cheaply to the city museum.In particular, the poverty-stricken Meisner-Strauss was ordered to return the jewel of the collection — Strauss’ handwritten score of the comic opera “Die Fledermaus” — as a “gift” to the museum.Now, with the approaching centennial celebrations, there are growing demands for family heirlooms, estimated by Brusatti to be worth about $30 million, to be handed back to Strauss’ descendants.According to Strauss scholar and collector Robert Dachs, whose book on the composer will be published in Britain later this year, Strauss’ descendants were grievously wronged, both by the Nazis and by the postwar Austrian authorities.When Strauss visited New York in 1872, he was invited to conduct an orchestra made up of 1,087 musicians and 20,000 singers. He was not entirely comfortable working in the medium, but a first-rate libretto by Richard Genée (himself a talented composer) and Strauss’s ability to produce an inspired tune meant it soon established itself as the most popular operetta ever.
Among his many notable compositions are his 12 symphonic poems, two piano concerti, several sacred choral works, and a variety of solo piano pieces. A controversial figure in his time, he later came to … His son, Johann II, merged his father’s orchestra with his own to form one super-virtuoso outfit, and went on to wow Austria, Germany, Poland and Russia in quick succession. Even Vaughan Williams, who had little time for salonesque miniatures, grudgingly conceded that “a waltz of Johann Strauss is good music in its proper place.” Time has been altogether kinder, and in recent years record label Marco Polo has completed the Herculean task of presenting all of Johann II’s music on CD, while Bärenreiter is gradually publishing the complete works – over 600 pieces in total – exactly as Strauss originally intended them. Such was his devotion to her that he renounced his Austrian citizenship in order to have his divorce from Lili officially recognised by the Catholic Church. And far from showing any slackening of invention, his later work remains amazingly fresh. Strauss, born in 1825, was a superstar of his time. For many years, the music of Strauss was dismissed as “lightweight” and not to be taken seriously.

He was married to Marianne Strauss. Franz Liszt, Hungarian piano virtuoso and composer.

Absolved from the responsibility of running the court balls, Johann II accepted an invitation to conduct a series of “monster concerts” in Boston during 1872.

Strauss later recalled that as his specially illuminated baton came down to set The Blue Danube in motion, there arose “an appalling row, such as I shall never forget’.” To his great relief, the 100,000-strong audience lapped it up. Der Ziguenerbaron (The Gipsy Baron), for example, finds Strauss almost reinventing the operetta genre by embracing the popular Hungarian and Viennese styles. His daughter and his wife die of cholera, three years after their marriage. In so doing, he elevated this outwardly simple dance style from its relatively humble beginnings to mini-masterpieces worthy of the concert hall.

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