Johann Strauss was the most famous and accomplished member of themusical dynasty that began with his father, Johann Strauss (older)(1804-49), a noted violinist, conductor, and composer. Together withhis brothers Josef and Eduard, who both wrote waltzes and polkas, theyounger Strauss effectively ruled the dance music world of Vienna, thecity of his birth, for most of the 19th century.

He wrote his first waltz at the age of six; but it was not until hisfather, who had wanted him to go into banking, deserted the family in1842 that he began his formal musical education. He soon formed his ownsmall orchestra and their debut in 1844 was such a success that hebecame his father’s leading rival overnight. When his father died fiveyears later the two orchestras were merged under his direction.

In the 1850s Strauss introduced some of the compositional techniquesof Wagner and Liszt into his waltzes, receiving a rebuke from thefiercely anti-Wagnerian critic Eduard Hanslick. The public was infavour, however, and in the 1860s he became increasingly busy bothcomposing and conducting, particularly during the ball season ofVienna’s high society. Most of his finest waltzes elate from thisdecade — Morning papers (1864), the ever popular Blue Danube (1867), Tales from the Vienna Woods(1868), and Wine, Women and Wong (1869) among them.

Strauss’s waltzes all fit a basic pattern, consisting of a slow,scene-setting introduction, followed usually by five waltz sections.They finished with a coda (end section) that reintroduced the mainwaltz tunes in a continuous sequence, creating a sense of quickeningmusical pace. It was a format that any competent composer could use togood effect; but Strauss’s best waltzes were more poised and betterorchestrated, his rhythmic combinations more finely balanced, and hismelodies simply more graceful than those of anyone else. They capturedthe mood of 19th century Vienna — its sophistication and its hedonism.

The “Waltz King” was naturally expected to tour — during the 30years from 1856 Strauss made appearances all over Europe, from Englandto Russia, hailed as Austria’s most successful ambassador. He wasinvited to Boston, Massachusetts, in 1872 for an “International PeaceJubilee” marking the end of the Franco-Prussian War. It was a huge galaaffair, in which he was forced to endure numerous performances of Blue Danube and Wine, Women and Song, butit brought him worldwide popularity. In 1876 he dedicated hisCentennial Waltzes to the American people in honour of the 100thanniversary of the Declaration of Independence.

Comic opera and operetta had become popular in Vienna, particularlythe works of the Parisian composer Jacques Offenbach. In the 1870stheatre directors and librettists turned to Strauss for a distinctlyViennese contribution to the genre. He had never had to tit hisfree-flowing melodies to a text before, and he was no discerning judgeof librettos suitable for the task. Of his 18 published stage worksonly two operettas passed into the repertory, largely due to theirexcellent librettos. Die Fledermaus (The Bat) from 1874 does, however, sparkle with all the wit and elegance of his best waltzes, while Der Zigeunerbaron (The Gypsy Baron), dating from 1885, uses gypsy melodies and exotic harmonies to capture the Hungarian flavour of its subject.

In 1885 Strauss converted to the Protestant faith in order todivorce his second wife Angelika (his first, Henrietta, had died) andmarry the young widow Adele Strauss (no relation). This cost him hisAustrian citizenship. He assumed that of Saxe-Coburg-Gotha for the restof his life, but Vienna was always his home. When he died there in 1899a part of the Austrian Empire died with him.

Beethoven was born in Bonn, Germany, the son of a singer in theservice of die Elector of Cologne. His father was weak-spirited anddrank excessively, but he recognized the boy’s talent and wasdisappointed when the young Beethoven failed to emulate Mozart as achild prodigy. Nevertheless, Beethoven soon held positions asharpsichordist in the court theatre and assistant organist in theElectoral chapel, where he obtained his first lessons in compositionfrom the court organist.

During his first visit to Vienna in1787 Beethoven impressed Mozart with his improvisations at thekeyboard. Before any formal tuition could take place, however, newsthat Beethoven’s mother was dying took him back to Bonn. By the time hereturned to Vienna in 1792, Mozart too was dead. He went instead toHaydn for composition lessons, but the two men were temperamentalopposites, and the instruction he received from Johann Albrechtsbergerproved more valuable.

Meanwhile, Beethoven’s career as a pianist made a promising start.His passion and dynamism at the keyboard more than compensated for alack of polish. He made his first appearance in Vienna in 1795 playinghis Piano concerto Nо. 2 in В flat,and was soon established as the city’s leading pianist. Othercompositions from the 1790s include piano sonatas, cello sonatas, andviolin sonatas. The two forms that were to have special significancefor Beethoven were still to come: he completed his first symphony in1800 and his first set of string quartets in 1801. Beethoven wasVienna’s first successful freelance musician: he never again held acourt position after leaving Bonn. Instead he had wealthy aristocraticfriends, patrons and perhaps lovers, to whom he dedicated his earlycompositions in return for payment. His success in such circles,despite notoriously awkward manners, an unpredictable temper, and arefusal to defer to superior social rank, can be attributed to hisgenius and personal magnetism. Beginning in 1798, Beethoven experienceda continual humming and whistling in his ears that gradually grewstronger, eventually prompting the agonizing realization that he wasgoing deaf. In 1802, in a state of desperation in which he contemplatedsuicide, Beethoven retired to the secluded village of Heiligenstadtand addressed to his brothers a statement expressing his anguish. The”Heiligenstadt Testament”, as it is known, marks the start of a newperiod in Beethoven’s output; the next ten years saw one of the mostprodigious outpourings of masterpieces in the history of music. By 1812he had completed Symphonies 2-8, Piano concertos 4 and 5, the Violin concerto, his opera Fidelio, the three Rasumovsky string quartets and a wealth of piano sonatas and other works.

Haydn and Mozart had demonstrated that melody alone, no matter howbeautiful, could not hold an audience’s attention for more than aminute or two and had mastered the principle of using harmonic tensionto sustain large-scale structures. But Beethoven went further; with the Eroica (3rd) symphony (1803)he created a single span of uninterrupted music of unprecedentedlength. He also widened the scope of the piano sonata to symphonicproportions with his Waldstein sonata (1803) - dedicated to his old friend Count Waldstein — and even more with the Appassionata (1804—5).In this he introduces new dynamic extremes, shattering the thoughtfulcalm of the opening with sudden fortissimo chords. This music wasrevolutionary, and not only in technique. Beethoven’s expanded formsbroadened the scope for emotional expression, giving voice to therevolutionary spirit of the age. He was a passionate democrat andgreatly admired the young Napoleon, whose name in fact originallyappeared on the title page of the Eroica symphony. WhenBeethoven heard that Napoleon had declared himself Emperor, however, hetore the page out and substituted “In Memory of a Great Man.”

What raises Beethoven’s genius in music to the level ofShakespeare’s in literature is his supreme master of musical form. Hewas able to create vast and complex musical structures stemming fromthe fundamental building blocks of music itself. For him a simplemusical figure had manifold implications that could generate an entiresymphony. So, for example, the opening four notes of his Fifth symphony (1807),supposedly depicting Fate knocking at the door, are especiallyportentous, since some derivation of them is heard in nearly every barof the first movement.

After 1812 Beethoven’s output dropped drastically. He becameinvolved in a number of lawsuits, including one over royalties for hisonly truly programmatic and probably his worst published work - Wellington’s Victory. In1820 he won custody of his nephew Karl, following the death in 1815 ofBeethoven’s brother. Although there is no doubting his good intentionsand love for the boy the arrangement was not a success. Beethoven hadnever married and wanted to treat Karl as his own son, but deepeningpoverty and a frenetic resumption of composition meant that his nephewwas neglected. The year before Beethoven’s death the boy attemptedsuicide.

Beethoven began composing intensively again in 1817. Most of 1818 was taken up with his colossal Hammerklavier sonata, and the years until 1824 were divided between the last three Piano sonatas, the Diabelli variations, the Missa Solemnis -aMass commissioned by Beethoven’s patron Archduke Rudolph, deliveredthree years late owing to the complexities of its composition — and the Ninth symphony. This work, whose final movement is a triumphant setting of Schiller’s Ode to joy, againbroke new ground in terms of scale and introduced choral forces intothe symphony for the first time. After the first performance Beethovenstood stone deaf on the stage, oblivious of everything, until one ofthe soloists turned him around to see the thunderous applause.

In his final years Beethoven turned once again to the stringquartet. In 1825 and 1826 he produced five works, at once profoundlycomplex and serene, for this intimate medium. He had become preoccupiedwith fugal techniques, just as in later life Bach had done, and the Grossc fuge —originally the finale to his Quartet in В flat - is one of the most extended and elaborate examples of the form.

These last works were far ahead of their time and still challengescholars and listeners. Beethoven did not live to complete sketches hehad made for further works. At his funeral in 1827 he was mourned by ahuge crowd, including fellow artists and aristocratic friends. Histombstone bore a single word: “Beethoven.”

[동운] 두 팔로 너를 안고 싶은데 차마 난 그러지 못했어
[Dongwoon] du pallo neoreul ango sipeunde chama nan geureoji motaesseo
먼저 울 것 같아서
meonjeo ul geot gataseo

[현승] 헤어져 살 수도 있구나 우리도 이별이 있구나
[Hyunseung] heeojyeo sal sudo itguna urido ibyeori itguna
헛웃음만 계속 나와서
heosuseumman gyesok nawaseo

[두준] 보내준다고 빨리가라고 꼭 행복하라고
[Doojoon] bonaejundago ppalligarago kkok haengbokharago
주먹을 꽉 쥐고 난 울었어
jumeogeul kkwak jwigo nan ureosseo

[요섭] 우린 만나선 안 돼 이젠 만나선 안 돼
[Yoseob] urin mannaseon an dwae ijen mannaseon an dwae
차가운 이 말에 입술을 깨물고
chagaun i mare ipsureul kkaemulgo
돌아보지 않을래 절대 안 돌아볼래
doraboji anheullae jeoldae an dorabollae
다짐을 하고 또 다시 해보지만 그게 안돼
dajimeul hago tto dasi haebojiman geuge andwae

[준형] 그 후로 당신에게 찾아가는 꿈을 반복하죠
[Junhyung] geu huro dangsinege chajaganeun kkumeul banbokhajyo
뒷 모습만 보일 뿐 날 보며 웃어주진 않네요
dwit moseumman boil ppun nal bomyeo useojujin annneyo
반갑게 인살 건네요 아무런 대답이 없어도
bangapge insal geonneyo amureon daedabi eobseodo
꿈에서 깨어난 뒤에 후회하지 않도록
kkumeseo kkaeeonan dwie huhoehaji antorok
빈 자릴 메꾸기가 쉽지만은 않다
bin jaril mekkugiga swipjimaneun anta
기억은 자꾸 그대가 있는 그 곳만 비춘다
gieogeun jakku geudaega inneun geu gotman bichunda
맘에도 없는 소릴 그대에게 보내요
mamedo eomneun soril geudaeege bonaeyo
주먹을 꽉 쥐고 Good luck to you
jumeogeul kkwak jwigo Good luck to you

[기광] 집으로 돌아오는 길이 이렇게 힘들 줄 몰랐어
[Kikwang] jibeuro doraoneun giri ireoke himdeul jul mollasseo
가슴이 너무 먹먹해서
gaseumi neomu meongmeokhaeseo

[두준] 잘 살아야지 이겨내야지 날 추스려봐도
[Doojoon] jal sarayaji igyeonaeyaji nal chuseuryeobwado
니 생각만 나서 참 힘들다
ni saenggangman naseo cham himdeulda

[요섭] 우린 만나선 안 돼 이젠 만나선 안 돼
[Yoseob] urin mannaseon an dwae ijen mannaseon an dwae
차가운 이 말에 입술을 깨물고
chagaun i mare ipsureul kkaemulgo
돌아보지 않을래 절대 안 돌아볼래
doraboji anheullae jeoldae an dorabollae
다짐을 하고 또 다시 해보지만 그게 안돼
dajimeul hago tto dasi haebojiman geuge andwae

[현승] 너란 여자 잊을거란 말 해도
[Hyunseung] neoran yeoja ijeulgeoran mal haedo
너란 여자 다시 보지 말자 다짐해봐도
neoran yeoja dasi boji malja dajimhaebwado
이렇게 또 너를 잊지 못해
ireoke tto neoreul itji motae

[요섭] 서로 사랑했는데 정말 사랑했는데
[Yoseob] seoro saranghaenneunde jeongmal saranghaenneunde
우리가 이렇게 왜 헤어지는데
uriga ireoke wae heeojineunde
(헤어지지 말자)
(heeojiji malja)
나 없인 못 산다고 죽을지 모른다고
na eobsin mot sandago jugeulji moreundago
큰 소리 치던 넌 대체 어디있니 어디갔니
keun sori chideon neon daeche eodiinni eodiganni