1897. In 1897 Sousa was a tourist in Italy when he heard the news that

his friend and manager had died in the United States. Sousa decided to return home. Aboard the _Teutonic_ a march melody kept haunting him. As soon as he came home he put the melody down on paper, and it became the principal subject of “The Stars and Stripes Forever.” This principal melody achieves an unforgettable climax in the march when it is proudly thundered by the full orchestra to figurations in the piccolo. _The Thunderer_ and _The Washington Post March_ were written in 1889. The latter was commissioned by the _Washington Post_ for the ceremonies attending the presentation of prizes in a student essay contest. Among Sousa’s other marches are _The Bride Elect_ (1897) from the comic opera of the same name; _The Fairest of the Fair_ (1908); _Hands Across the Sea_ (1899); _Invincible Eagle_ (1901); and _Saber and Spurs_ (1915) dedicated to the United States Cavalry. It was long maintained that Sousa was the composer of the famous hymn of the Artillery branch of the United States armed services, “The Caisson Song.” Sousa played this march in his own brilliant new band arrangement at a Liberty Loan Drive at the Hippodrome, in New York, in 1918. For some time thereafter Sousa was credited as being the composer. But further research revealed the fact that the words and music had been written in 1908 by Edmund L. Gruber, then a lieutenant with the 5th Artillery in the Philippines. Oley Speaks Oley Speaks was born in Canal Winchester, Ohio, on June 28, 1874. He received his musical training, principally in voice, from various teachers including Armour Galloway and Emma Thursby. He then filled the post of baritone soloist at churches in Cleveland, Ohio, and New York City, including the St. Thomas Church in New York from 1901 to 1906. He also filled numerous engagements in song recitals and performances of oratorios. He died in New York City on August 27, 1948. Speaks was the composer of more than 250 published art songs which have placed him in a front rank among American song composers. Three have become outstandingly popular; there is hardly a male singer anywhere who has not sung such all-time favorites as “Morning,” “On the Road to Mandalay” and “Sylvia,” each of which is among the most widely circulated and most frequently heard art songs by an American. “Morning,” words by Frank L. Stanton, was published in 1910. Where “Morning” is lyrical, “On the Road to Mandalay” (published in 1907) is dramatic, a setting of the famous poem by Rudyard Kipling. The persistent rhythmic background suggesting drum beats, and the effective key change from verse to chorus, have an inescapable effect on listeners. “Sylvia,” poem by Clinton Scollard, published in 1914, is in a sentimental mood, and like “Morning” reveals the composer’s marked gift for sensitive lyricism. Robert Stolz Robert Stolz was born in Graz, Austria, on August 25, 1882. His parents were musical, his father being a successful conductor and teacher, and his mother a concert pianist. Robert’s music study took place first with his father, then with Robert Fuchs in Vienna and Humperdinck in Berlin. In 1901 he assumed his first post as conductor, at an opera house in Brunn. When he was twenty-five he was appointed conductor of the Theater-an-der-Wien in Vienna where he remained twelve years, directing most of the masterworks in the field of Austrian and German operettas. His own career as composer of operettas had begun in 1903 with _Schoen Lorchen_ produced in Salzburg. Since then Stolz has written music for about sixty operettas, scores for more than eighty films, and a thousand songs in all. His music is in the light, graceful, ebullient style that has characterized Viennese operetta music since the time of Johann Strauss II. His most famous operettas are: _Die lustigen Weiber von Wien_ (1909), _Die Gluecksmaedel_ (1910), _Die Tanzgraefin_ (1921), _Peppina_ (1931), _Zwei Herzen in dreiviertel Takt_ (1933), _Fruehling im Prater_ (1949) and _Karneval in Wien_ (1950). In 1938 Stolz came to the United States where for several years he worked in Hollywood. After the end of World War II he returned to Vienna, remaining active as a composer not only in that city but also in Berlin and London. Stolz’ most famous song is “_Im Prater bluehn wieder die Baeume_” (“In the Prater the Trees Are Again Blooming”), a glowing hymn not only to a district in Vienna famous for its frolic and amusement but even more so to the city of Vienna itself. A waltz from his operetta, _Two Hearts in Three-Quarter Time_ (_Zwei Herzen in dreiviertel Takt_) is perhaps one of the most celebrated pieces in three-quarter time written in Vienna since Lehár, and it is loved the world over. This operetta originated in 1931 as a German motion-picture which won accolades around the world for its charm and freshness, for which Stolz wrote a score that included his famous waltz. It was then adapted for the stage by Paul Knepler and J. M. Willeminsky and introduced in Zurich, Switzerland, in 1933. This delightful text concerns the trials and tribulations of producing an operetta. That operetta is accepted for production on the condition that a good waltz melody is written for it, and the composer Toni Hofer gets his inspiration for that tune from lovely Hedi, the young sister of the librettist. This waltz, of course, is the title number, which, in its lilt and buoyancy and Viennese love of life, is in the best tradition of Viennese popular music. Oscar Straus Oscar Straus was no relation to any of the famous Viennese Strausses; nevertheless in the writing of light, gay music in waltz tempo and spirited melodies for the operetta stage he was certainly their spiritual brother. He was born in Vienna on March 6, 1870, and studied music with private teachers in Vienna and Berlin, including Max Bruch. In 1901 he settled in Berlin where he became conductor at a famous cabaret, _Ueberbrettl_, for whose productions of farces he wrote a number of scores. Soon after that he turned to writing operettas, becoming world famous with _The Waltz Dream_ in 1907 and _The Chocolate Soldier_ in 1908, both introduced in Vienna. He wrote about thirty operettas after that, many heard with outstanding success in the music centers of the world. The best of these were _Der letzte Walzer_ (1920), _Die Teresina_ (1921), _Drei Walzer_ (1935), and _Bozena_ (1952). He was at his best writing waltz melodies but he was also skilful in interpolating satirical elements into his musical writing through the exploitation of ragtime, jazz, and the shimmy. Straus lived in Berlin until 1927, and for a decade after that he made his home in Vienna and Paris. In 1939 he became a French citizen, and from 1940 to 1948 he lived in the United States, filling some assignments in Hollywood. He returned to his native land in 1948, and died at Bad Ischl, Austria, on January 11, 1954. _The Chocolate Soldier_ (_Der tapfere Soldat_) was the operetta adaptation of Bernard Shaw’s comedy, _Arms and the Man_, by R. Bernauer and L. Jacobsen. Its première took place in Vienna on November 14, 1908, with the first American performance taking place a year later at the Casino Theater in New York. The setting is Serbia in 1885 where the hero, Lieutenant Bumerli, gains the nickname of “chocolate soldier” because of a sweet tooth. While escaping from the enemy, he finds refuge in the bedroom of Nadina, daughter of Colonel Popoff. Nadina becomes the instrument by means of which the lieutenant is now able to effect his escape, disguised in the coat of Colonel Popolf. But before the final curtain Bumerli and Nadina also become lovers. The waltz, “My Hero,” (“_Komm, Komm, Held meiner Traeume_”) Nadina’s waltz of love to the chocolate soldier, is the most celebrated excerpt from this operetta. Other familiar pages include the lovely first act duet of Nadina and Bumerli, “Sympathy”; the little orchestral march in the second act, a satirical take off on military pomp and circumstance; and Nadina’s “Letter Song” in the third act. _A Waltz Dream_ (_Ein Walzertraum_), book by Felix Doermann and Leopold Jacobsen, was introduced in Vienna on March 2, 1907, and in New York in April 1908. Lieutenant Niki of the Austrian army is ordered by the Austrian Emperor to marry Princess Helen, but he falls in love with Frantzi, a violinist in a girl’s orchestra. This love affair becomes frustrated when Niki must return to Vienna to become Prince Consort. The main musical selection from this operetta is the title number, a waltz which first appears as a duet between Niki and a fellow officer in the first act, then recurs throughout the operetta, and finally brings it to a close. Two sprightly march excerpts, from the second and third acts respectively, and the duet, “Piccolo, piccolo, tsin, tsin, tsin” are also popular. Eduard Strauss Eduard Strauss, the younger brother of Johann Strauss II, was born in Vienna on March 15, 1835. He studied music in Vienna with G. Preyer following which he made his café-house debut in 1862 by conducting his father’s orchestra at the Dianasaal. He continued to lead his father’s orchestra at the Volksgarten and Musikverein as well as at various leading café-houses in Vienna. He also made many tours, including two of the United States in 1892 and 1901. In 1902 he dissolved the musical organization which his father had founded three-quarters of a century earlier and which all that time had dominated the musical life of Vienna. Besides conducting this orchestra, he also substituted from time to time for his famous brother, Johann Strauss II, and in 1870 he succeeded him as conductor of the court balls. Eduard Strauss died in Vienna on December 28, 1916. Eduard wrote over three hundred popular instrumental compositions in the style of his celebrated brother but without ever equalling his remarkable creative freshness and originality. But there is a good deal of pleasurable listening in Eduard’s waltzes and polkas. In the former category belongs the _Doctrinen_ (_Faith_) Waltzes, op. 79; in the latter, the gay _Bahn Frei_ (_Fast Track_) Polka, op. 45. In collaboration with his two brothers, Johann and Josef, Eduard wrote the _Trifolienwalzer_ and the _Schuetzenquadrille_. Johann Strauss I Johann Strauss I was one of the two waltz kings of Vienna bearing that name. The more famous one, the composer of “The Blue Danube” was the son. But the father was also one of Vienna’s most popular composers and café-house conductors. He was born in Vienna on March 14, 1804, and as a boy he studied both the violin and harmony. His love for music, combined with the decision of his parents to make him a bookbinder, led him to run away from home. When he was fifteen he joined Michael Pamer’s orchestra which played at the Sperl café; another of its members was Josef Lanner, soon also to become a major figure in Vienna’s musical life. As Lanner’s star rose, so did Johann Strauss’. First Strauss played in the Lanner Quartet at the _Goldenen Rebbuhn_ and other cafés; after that he was a member of the Lanner Orchestra which appeared in Vienna’s leading cafés. When Lanner’s mounting success made it necessary for him to create two orchestras, he selected Johann Strauss to conduct one of them. Then, in 1826, Johann Strauss formed an orchestra of his own which made its debut at the Bock Café. For the next two decades he was the idol of Vienna, Lanner’s only rival. By 1830 he had two hundred musicians under him. His major successes as a café-house conductor came at the Sperl and the Redoutensaal. But his fame spread far beyond Vienna. In 1833 he toured all Austria, and in 1834 he appeared in Berlin. After that he performed in all the major European capitals, achieving formidable successes in London and Paris. Meanwhile, in 1833, he had become bandmaster of the first Vienna militia regiment, one of the highest honors a performer of light music could achieve in Austria. In 1845 he was appointed conductor of the Viennese court balls. He died in Vienna on September 25, 1849. Like Lanner, Strauss wrote a considerable amount of dance and café-house music, over 250 compositions. His first composition was the _Taeuberlwalzer_, named after the café _Zwei Tauben_ where he was then appearing. After that he wrote waltzes, galops, polkas, quadrilles, cotillons, contredanses, and marches—which Vienna came to love for their rhythmic vitality and appealing lyricism. People in Vienna used to say that the waltzes of the first Johann Strauss were _made_ for dancing because their rhythmic pulse excited the heart and made feet restless. Not much of the father Strauss’ library of music has survived. The exceptions are the following waltzes: _Caecilien_, _Donaulieder_, the _Kettenbruecken_, and the _Lorelei Rheinsklaenge_. To the waltz, the older Johann Strauss brought a symphonic dimension it had heretofore not known, particularly in his spacious introductions of which the thirty-bar prelude of the _Lorelei Rheinsklaenge_ is an outstanding example. He also carried over to the waltz a variety of mood and feeling and a lightness of touch new for this peasant dance. “This demon of the ancient Viennese folk spirit,” wrote Richard Wagner after hearing Strauss perform one of his own waltzes in Vienna, “trembled at the beginning of a new waltz like a python preparing to spring, and it was more the ecstasy produced by the music than the drinks among the enchanted audience that stimulated that magical first violin to almost dangerous flights.” Of his other music the most famous is the _Radetzky March_. Count Radetzky was an Austrian military hero, victor over the Italians in 1848-1849. In honor of his Italian triumphs and suppression of the Italian nationalist movement, Strauss wrote the spirited, sharply accented march in 1848 which almost at once became the musical symbol of Hapsburg Vienna and Austrian military power. The following programmatic interpretation of this music by H. E. Jacob is of interest: “Drunk with triumph, the Generalissimo’s battalions hurl themselves down into Lombardy. They are close on the heels of the fleeing troops of King Albert, the King of Sardinia. And then comes a new phase of the march to accompany the victorious troops. A different sun shines down on this, a memory of Vienna, a lingering trace of the feel of girls’ arms; scraps of a dance song with a backward glance at three-quarter time. But on they go, still forward. There are no more shots, there is laughter. The trio follows. The ... superdominant ... hoisted as if it were a flag.... Finally comes the return of the principal theme with the laurels and gaiety of victory.” Johann Strauss II Johann Strauss II, son of the first Johann Strauss, was born in Vienna on October 25, 1825. Though he showed an unmistakable bent for music from his childhood on, he was forbidden by his father to study music or to indulge in any musical activity whatsoever. The young Johann Strauss, encouraged by his mother, was forced to study the violin surreptitiously with a member of his father’s orchestra. Only after the father had deserted his family, to set up another home with his mistress, did young Johann begin to devote himself completely and openly to music. After studying the violin with Kohlmann and counterpoint with Joseph Drechsler, he made his debut as a café-house conductor and composer at Dommayer’s Casino in Hietzing, near Vienna, on October 15, 1844. The event was widely publicized and dramatized in Vienna, since the son was appearing as a rival to his father. For this momentous debut, the son wrote the first of his waltzes—the _Gunstwerber_ and the _Sinngedichte_—which aroused immense enthusiasm. He had to repeat the last-named waltz so many times that the people in the café lost count. “Ah, these Viennese,” reported the editor of _The Wanderer_. “A new waltz player, a piece of world history. Good night, Lanner. Good evening, Father Strauss. Good morning, Son Strauss.” The father had not attended this performance, but learned of his son’s triumph from one of his cronies. Thus a new waltz king had arisen in Vienna. His reign continued until the end of the century. For fifty years Johann Strauss II stood alone and unequalled as the musical idol of Vienna. His performances were the talk of the town. His own music was on everyone’s lips. After the death of father Strauss in 1849, he combined members of the older man’s orchestra with his own, and toured all of Europe with the augmented ensemble. From 1863 to 1870 he was conductor of the Viennese balls, a post once held by his father. In 1872 he made sensational appearances in Boston and New York. All the while he was writing some of the most famous waltzes ever written, as well as quadrilles and polkas and other dance pieces. And in 1871, with the première in Vienna of _Indigo_ he entered upon a new field, that of the operetta, in which once again he was to become a dominating figure. He was admired not merely by the masses but also by some of the greatest musicians of his generation—Brahms, Wagner, Verdi, Hans von Buelow, Offenbach, Goldmark, Gounod, all of whom expressed their admiration for his music in no uncertain terms. In 1894, Vienna celebrated the 50th anniversary of his debut with a week of festive performances; congratulations poured into Vienna from all parts of the civilized world. He died five years after that—in Vienna on June 3, 1899—and was buried near Schubert, Beethoven, and Brahms. It is perhaps singularly fitting that Johann Strauss should have died in