Not only is it their birthdays but it is also Picasso and Kathy Perry's Birthday . Wow there are so many artists born on this day ! When it comes to classial music Johann Strauss II and Georges Bizet are composers everyone knows . I was trying my hardest to find something that these two greats have in common apart from their birthday and I found it ! YAY ! Here is a video of "Los Toreador" by Bizet played by the Strauss Chamber Orchestra : Johann Strauss ( a nice repost from Biography.com ) : Johann Strauss, often referred to as Johann Strauss II, was born on October 25, 1825, in Vienna, Austria. His father, Johann Strauss the Elder, was a self-taught musician who established a musical dynasty in Vienna, writing waltzes, galops, polkas and quadrilles and publishing more than 250 works. Johann the Younger went on to write more than 500 musical musical compositions, 150 of which were waltzes, and he surpassed both his father's productivity and popularity. Compositions such as The Blue Danube helped establish Strauss as "the Waltz King" and earned him a place in music history. He died in Vienna in June 1899. Early Years Johann Strauss, often referred to as Johann Strauss II or "the Younger," was born on October 25, 1825, in Vienna, Austria. He was the oldest son of Johann Strauss (the Elder), also a composer, but one whose reputation would eventually be eclipsed by his son's. Strauss the Elder wanted his son to follow a different career path than he himself had followed, so Strauss II became a bank clerk while secretly studying the violin with a member of his father's company. His father left the family when Strauss was 17, and Strauss soon began openly embracing the musician's life, conducting a band in a Viennese restaurant when he was still a teenager, in 1844. The Musician A year after the restaurant appearance, Johann Strauss formed his own band and suddenly found himself competing with his father. He also began writing at this point—quadrilles, mazurkas, polkas and waltzes, which were then performed by his orchestra. He soon began receiving praise for his work and, in 1845, was awarded the honorary bandmaster position of the 2nd Vienna Citizens' Regiment. (To shed some light on the competition between father and son, Strauss the Elder was bandmaster of the 1st regiment.) Strauss began composing for the Vienna Men's Choral Association in 1847. His father died two years later, prompting him to conflate his own and his father's orchestras, after which he mounted a successful career. In 1853, Strauss fell ill, and his younger brother, Josef, took control of the orchestra for six months. After recovering, he dove back into conducting and composing activities—a pursuit that proved to be stronger than ever, gaining the eventual attention of such luminaries as Verdi , Brahms and Wagner . The Composer The 1860s saw Strauss hit a few touchstone moments, as he married singer Henriette Treffz in 1862 and toured in Russia and England, extending his reputation. He would soon, however, quit conducting for the most part (exceptions being engagements in New York City and Boston in 1872) to focus on writing music, turning his orchestra over to his two brothers, Josef and Eduard. Strauss's focus in composition was dual: the Viennese waltz and the Viennese operetta, and he would become renowned for the former. His operettas include Indigo und die vierzig Räuber (1871; his first) and Die Fledermaus (1874), which would become his most famous. But his waltzes—of which there were 150, less than a third of his total output—would have truly lasting appeal. An der schönen blauen Donau ( The Blue Danube ; 1867) would be the piece that defined Strauss to the listening public, and the work still resonates 150 years later. Other Strauss waltzes include Morgenblätter ( Morning Papers ; 1864), Geschichten aus dem Wienerwald ( Tales from the Vienna Woods ; 1868) and Wein, Weib und Gesang ( Wine, Women and Song ; 1869). Later Years On the heels of his American tour and his international rise, Strauss encountered his share of loss in the 1870s: His mother and brother Josef died around the same time, and his wife died of a heart attack in 1878. Strauss married two more times and remained productive right up until his final days. He was working on a ballet, Cinderella , when a respiratory illness turned into pneumonia and caused his death, on June 3, 1899, in Vienna. Georges Bizet: ( This one is a repost from the Encyclopedia Britanica , let's get educated ! ) original name Alexandre-César-Léopold Bizet (born October 25, 1838, Paris , France —died June 3, 1875, Bougival, near Paris), French composer best remembered for his opera Carmen (1875). His realistic approach influenced the verismo school of opera at the end of the 19th century. Bizet’s father was a singing teacher and his mother a gifted amateur pianist, and his musical talents declared themselves so early and so unmistakably that he was admitted to the Paris Conservatoire before he had completed his 10th year. There, his teachers included the accomplished composers Charles Gounod and Fromental Halévy , and he quickly won a succession of prizes, culminating in the Prix de Rome , awarded for his cantata Clovis et Clotilde in 1857. This prize carried with it a five-year state pension, two years of which musicians were bound to spend at the French Academy in Rome. Bizet had already shown a gift for composition far superior to that of a merely precocious boy. His first stage work, the one-act operetta Le Docteur miracle , performed in Paris in 1857, is marked simply by high spirits and an easy mastery of the operetta idiom of the day. His Symphony in C Major , however, written in 1855 but subsequently lost and not discovered and performed until 1935, will bear easy comparison with any of the works written at the same age of 17 by either Mozart or Felix Mendelssohn . Flowing and resourceful counterpoint , orchestral expertise, and a happy blend of the Viennese classical style with French melody give the symphony a high place in Bizet’s output. The young composer was already aware of his gifts and of the danger inherent in his facility “I want to do nothing chic ,” he wrote from Rome, “I want to have ideas before beginning a piece, and that is not how I worked in Paris.” In Rome he set himself to study Robert Schumann , Carl Maria von Weber , Mendelssohn, and Gounod, who was regarded as more than half a German composer by the admirers of the fashionable French composer Daniel Auber. Mozart’s music affects me too deeply and makes me really unwell. Certain things by Rossini have the same effect; but oddly enough Beethoven and Meyerbeer never go so far as that. As for Haydn, he has sent me to sleep for some time past. Instead of spending his statutory third year in Germany, he chose to stay on in Rome, where he collected impressions that were eventually collected to form a second C major symphony ( Roma ), first performed in 1869. An Italian-text opera, Don Procopio , written at this time, shows Donizetti’s style, and the ode Vasco de Gama is largely modeled on Gounod and Meyerbeer. When Bizet returned to Paris in the autumn of 1860, he was accompanied by his friend Ernest Guiraud, who was to be responsible for popularizing Bizet’s work after his death. In spite of very decided opinions, Bizet was still immature in his outlook on life (youthfully cynical , for instance, in his attitude toward women) and was plagued by an artistic conscience that accused him of preferring the facilely charming in music to the truly great. He was even ashamed of his admiration for the operas of his Italian contemporary Giuseppe Verdi and longed for the faith and vision of the typical Romantic artist, which he could never achieve. “I should write better music,” he wrote in October 1866 to his friend and pupil Edmond Galabert, “if I believed a lot of things which are not true.” In fact the skepticism and materialism of the dominant Positivist philosophy persistently troubled Bizet; it may well have been an inability to reconcile his intelligence with his emotions that caused him to embark on so many operatic projects that he never brought to a conclusion. The kind of drama demanded by the French operatic public of the day could very seldom engage his whole personality. The weaknesses in the first two operas that he completed after his return to Paris are a result not so much of the composer’s excessive regard for public taste as of his flagging interest in the drama. Neither Les Pêcheurs de perles ( The Pearl Fishers ; first performed 1863) nor La Jolie Fille de Perth (1867; The Fair Maid of Perth ) had a libretto capable of eliciting or focusing the latent musical and dramatic powers that Bizet eventually proved to possess. The chief interest of Les Pêcheurs de perles lies in its exotic Oriental setting and the choral writing, which is more individual than that of the lyrical music, over which Gounod still casts a long shadow. Although La Jolie Fille de Perth bears only a skeletal resemblance to Sir Walter Scott’s novel, the characterization is stronger (the gypsy Mab and the “Danse bohémienne” anticipate Carmen ), and even such conventional features as the night patrol, the drinking chorus, the ballroom scene, and the heroine’s madness exhibit a freshness and elegance of language that raise the work unmistakably above the general level of French opera of the day. Although warmly acknowledged by Berlioz, Gounod, Saint-Saëns, and Liszt, Bizet was still obliged during these years to undertake the musical hackwork that only the most successful French composers were able to avoid. Stories of his moodiness and readiness to pick a quarrel suggest a profound inner uncertainty, and the cynicism and vulnerability of adolescence hardly yielded to a mature emotional attitude of life until his marriage, on June 3, 1869, to Geneviève Halévy, the daughter of the composer of the opera La Juive (1835; The Jewess ). Between his engagement in 1867 and his marriage, Bizet was himself aware of undergoing “an extraordinary change . . . both as artist and man. I am purifying myself and becoming better.” Adverse criticism of certain features of La Jolie Fille de Perth prompted him to break once and for all with “the school of flonflons , trills and falsehoods” and to concentrate his attention on the two elements that had always been the strongest features of his music—the creation of exotic atmosphere and the concern with dramatic truth. The first of these was brilliantly exemplified in the one-act Djamileh (1872), original enough to be accused of “exceeding even Richard Wagner in bizarrerie and strangeness”; and the second in the incidental music for Alphonse Daudet’s play L’Arlésienne (1872), which is marked by a delicacy and tenderness quite new to his music. Besides the happiness of his marriage, which was crowned by the birth of a son in July of this same year, his letters show that he was deeply stirred by the events of the Franco-Prussian War , and, during the siege of Paris, he served in the national guard. It was in the first flush of this new emotional maturity, but with the ardour and enthusiasm of youth still unshadowed, that he wrote his masterpiece, Carmen , based on a story by the contemporary French author Prosper Mérimée . The realism of the work, which caused a scandal when it was first produced in 1875, was to inaugurate a new chapter in the history of opera; and the combination of brilliant local colour and directness of emotional impact with fastidious workmanship and a wealth of melody have made this opera a favourite with musicians and public alike. The philosopher Friedrich Nietzsche regarded it as the type of “Mediterranean” music that was the antidote to Wagner’s Teutonic sound. The scandal caused by Carmen was only beginning to yield to enthusiastic admiration when Bizet suddenly died. Martin Du Pré Cooper Thanks for reading ! If you would like to write a post of your own you can sign up by clicking here .