The Waltz King Trivia Quiz

Answer:

Johann Strauss II (1825-1899), often called the "Waltz King," was born in Vienna into a musical family but initially pursued composition against his father's wishes, establishing his own orchestra in 1844 and quickly surpassing his father's fame. Through tireless conducting, extensive European and Russian tours, and an unmatched gift for melody, he elevated the Viennese waltz from functional dance music into a refined concert genre, combining rhythmic vitality with orchestral richness and lyrical breadth. Although he also achieved enormous success in operetta - most notably with "Die Fledermaus" (1874) - his enduring legacy rests on his dance music, particularly the waltz, which he systematically expanded in scale, dramatic shape, and expressive range. Over the course of his career, he composed more than 150 waltzes (out of roughly 500 total works), many of which became inseparable from the cultural identity of Vienna, and which continue to define the classical waltz tradition today.

"Wellen und Wogen" ("Waves and Billows"), Op. 141, dates from 1853 and belongs to Strauss's early period, when he was consolidating his reputation beyond Vienna through extensive touring. Inspired by maritime imagery rather than a specific occasion, the waltz shows his growing interest in orchestral colour and fluid transitions, anticipating the more expansive structures of his later masterpieces.

"Morgenblätter" ("Morning Papers"), Op. 279, was composed in 1863 and first performed in Vienna in January 1864 for a ball hosted by the city's journalists and authors. Its title deliberately complemented a newly written waltz by Jacques Offenbach, creating a light‑hearted artistic rivalry that Strauss handled diplomatically by conducting both works at the same event, and the music itself balances elegance with understated wit.

"Wiener Bonbons" ("Bonbons from Vienna"), Op. 307, was written in 1866 for a grand charity ball at the Hofburg and dedicated to Princess Pauline von Metternich. The work combines refined Viennese dance style with hints of Parisian elegance, reflecting the cosmopolitan atmosphere of the occasion and Strauss's flair for crafting music that flattered elite audiences.

"An der schönen blauen Donau" ("On the Beautiful Blue Danube"), Op. 314, composed in 1866 and first heard publicly in 1867, began life as a choral waltz before achieving international fame in its orchestral form. Although its Viennese premiere was initially received rather calmly, performances abroad transformed it into Strauss's most enduring work and an emblem of Austrian musical culture.

"Künstlerleben" ("Artists' Life"), Op. 316, also from 1867, was written for a ball of Vienna's artists' association during a period of political and cultural uncertainty following Austria's defeat to Prussia in 1866. Its warm lyricism and confident structure were intended to restore civic morale, and it quickly became associated with Strauss's mature, optimistic style.

"Geschichten aus dem Wienerwald" ("Tales from the Vienna Woods"), Op. 325, which premiered in 1868, evokes the countryside surrounding Vienna through rustic rhythms and distinctive instrumental colour. Its celebrated inclusion of a zither places the waltz among Strauss's most pictorial works, blending folk references with refined ballroom sophistication.

"Wiener Blut" ("Vienna Blood"), Op. 354, was first performed in 1873 at a court celebration marking a Habsburg wedding. Beyond its ceremonial origins, the waltz is notable for introducing Strauss to the Vienna Philharmonic, an orchestra previously reluctant to engage with dance music, and it exemplifies the composer's ability to unite grandeur with lyrical ease.

"Wo die Zitronen blühn" ("Where the Lemon Trees Bloom"), Op. 364, appeared in 1874 and draws on the long‑standing poetic association between Italy and idyllic longing. Originally conceived with a vocal element, its melodic warmth and gentle nostalgia ensured a lasting place in Strauss's concert repertoire in both vocal and orchestral forms.

"Rosen aus dem Süden" ("Roses from the South"), Op. 388, published in 1880, reworks melodies from Strauss's operetta "Das Spitzentuch der Königin" ("The Queen's Lace Handkerchief") into a sumptuous concert waltz. Its lush orchestration and seamless thematic flow have made it one of Strauss's most prized late works, often favoured for its romantic richness.

"Frühlingsstimmen" ("Voices of Spring"), Op. 410, written in 1882, was conceived as a coloratura soprano showcase before gaining wide popularity in its purely orchestral version. The waltz captures a sense of buoyant renewal and technical brilliance, standing apart in Strauss's output for its virtuosic vocal origins.

"Lagunen-Walzer" ("Lagoon Waltz"), Op. 411, composed in 1883, draws its themes from the operetta "Eine Nacht in Venedig" ("A Night in Venice"). Although the stage work initially struggled, this elegant adaptation flourished independently, its Venetian imagery and flowing melodies securing it a lasting concert life.

"Wiener Frauen" ("Viennese Ladies"), Op. 423, dates from 1886 and was first presented during one of Strauss's Russian engagements under a different dedication before being retitled for Vienna. Often regarded as one of his last great waltzes, it combines refinement with a reflective tone characteristic of his late style. The original title was "Les dames de St. Pétersbourg" ("The Ladies of St. Petersburg").

"Kaiser-Walzer" ("The Emperor Waltz"), Op. 437, introduced in 1889, was composed to symbolise cordial relations between the Austrian and German emperors. Originally conceived under a different name ("Hand in Hand"), its stately introduction and expansive sweep have made it the definitive ceremonial waltz of Strauss's career.

"Seid umschlungen, Millionen!" ("Be Embraced, You Millions!"), Op. 443, followed in 1892 and belongs to Strauss's final creative period. Inspired by literary ideals of human unity, the waltz carries a broader, more reflective tone than many earlier ballroom works, suggesting a conscious summation of the composer's lifelong engagement with the genre.

"Trau, schau, wem!" ("Take Care in Whom You Trust!"), Op. 463, from 1894, stands among Strauss's last waltzes and reflects a subtly ironic outlook late in life. Its title hints at worldly caution, while the music itself balances elegance with gentle introspection, closing his waltz catalogue on a measured and thoughtful note.

As for the other waltzes in the collection that were not composed by Johann Strauss II?

The "Minute Waltz" ("Valse des minutes") was written by Frédéric Chopin and published in 1847. The "Swan Lake Waltz" was composed by Pyotr Ilyich Tchaikovsky and first published with "Swan Lake" in 1876. "Danube Waves" ("Valurile Dunării") was written by Iosif Ivanovici and published in 1880. "The Skaters" ("Les Patineurs") was composed by Émile Waldteufel and published in 1882. The "Waltz of the Flowers" was also composed by Tchaikovsky, and published in 1892 as part of "The Nutcracker." The "Gold and Silver Waltz" ("Gold und Silber") was written by Franz Lehár and first published in 1902. "Valse triste" was composed by Jean Sibelius in 1903 as incidental music for a play. "La Valse" was completed and published by Maurice Ravel in 1920. And the "Waltz from the Masquerade Suite" comes from incidental music composed by Aram Khachaturian in 1941.