Coordinates	40°42′15.0″N73°55′4.0″N
Title	Waltz
Genre	Ballroom dance, folk dance
Signature	3/4
Country	Austria and Southern Germany }}

The waltz is a ballroom and folk dance in time, performed primarily in closed position.

History

There are several references to a sliding or gliding dance,- a waltz, from the 16th century including the representations of the printer H.S. Beheim. The French philosopher Montaigne wrote of a dance he saw in 1580 in Augsburg, where the dancers held each other so closely that their faces touched. Kunz Haas, of approximately the same period wrote that, "Now they are dancing the godless, ''Weller'' or ''Spinner''." "The vigorous peasant dancer, following an instinctive knowledge of the weight of fall, utilizes his surplus energy to press all his strength into the proper beat of the measure, thus intensifying his personal enjoyment in dancing". The wide, wild steps of the country people became shorter and more elegant when introduced to higher society. Hans Sachs wrote of the dance in his 1568 ''Eygentliche Beschreibung aller Stände''(1568).

The peasants of Bavaria, Tyrol, and Styria began dancing a dance called Walzer, a dance for couples, around 1750. The Ländler, also known as the Schleifer, a country dance in 3/4 time, was popular in Bohemia, Austria, and Bavaria, and spread from the countryside to the suburbs of the city. While the eighteenth century upper classes continued to dance the minuet, bored noblemen slipped away to the balls of their servants.

In the 1771 German novel ''Geshichte des Fräuleins von Sternheim'' by Sophie von La Roche, a high-minded character complains about the newly introduced waltz among aristocrats thus: "But when he put his arm around her, pressed her to his breast, cavorted with her in the shameless, indecent whirling-dance of the Germans and engaged in a familiarity that broke all the bounds of good breeding—then my silent misery turned into burning rage."

Describing life in Vienna (dated at either 1776 or 1786), Don Curzio wrote, " The people were dancing mad [...] The ladies of Vienna are particularly celebrated for their grace and movements of waltzing of which they never tire." There is a waltz in the second act finale of the opera "Una Cosa Rara" written by Martin y Soler in 1786. Soler's waltz was marked Andante con moto, or "at a walking pace with motion", but the flow of the dance was sped-up in Vienna leading to the Geschwindwalzer, and the Galloppwalzer.

In the transition from country to town, the hopping of the Ländler, a dance known as Langaus, became a sliding step, and gliding rotation replaced stamping rotation.

In the 19th century the word primarily indicated that the dance was a turning one; one would "waltz" in the polka to indicate rotating rather than going straight forward without turning.

The Viennese custom is to slightly anticipate the second beat, which conveys a faster, lighter rhythm, and also breaks of the phrase. The younger Strauss would sometimes break up the one-two-three of the melody with a one-two pattern in the accompaniment along with other rhythms, maintaining the 3/4 time while causing the dancers to dance a two-step waltz. The metronome speed for a full bar varies between 60 and 70, with the waltzes of the first Strauss often played faster than those of his sons.

Shocking many when it was first introduced, the waltz became fashionable in Vienna around the 1780s, spreading to many other countries in the years to follow. It became fashionable in Britain during the Regency period, though the entry in the Oxford English Dictionary shows that it was considered "riotous and indecent" as late as 1825. The waltz, and especially its closed position, became the example for the creation of many other ballroom dances. Subsequently, new types of waltz have developed, including many folk and several ballroom dances.

Styles

In the 19th and early 20th century, numerous different waltz forms existed, including versions performed in 2/4 or 6/8 (sauteuse), and 5/4 time (5/4 waltz, half and half)

In the 1910s, a form called the "Hesitation Waltz" was introduced by Vernon and Irene Castle. It incorporated Hesitations and was danced to fast music. A hesitation is basically a halt on the standing foot during the full waltz measure, with the moving foot suspended in the air or slowly dragged. Similar figures (Hesitation Change, Drag Hesitation, and Cross Hesitation) are incorporated in the International Standard Waltz Syllabus.

The Country Western Waltz is mostly progressive, moving counter clock wise around the dance floor. Both the posture and frame are relaxed, with posture bordering on a slouch. The exaggerated hand and arm gestures of some ballroom styles are not part of this style. Couples may frequently dance in the promenade position, depending on local preferences. Within Country Western waltz there are the Spanish Waltz and the more modern (for the late 1930s- early 1950s) Pursuit Waltz. At one time it was considered ill treatment for a man to make the woman walk backwards in some locations.

In California the waltz was banned by Mission fathers until after 1834 because of the "closed" dance position. Thereafter a Spanish Waltz was danced. This Spanish Waltz was a combination of dancing around the room in closed position, and a "formation" dance of two couples facing each other and performing a sequence of steps. "Valse a Trois Temps" was the "earliest" waltz step, and the Rye Waltz was favored as a couple dance.

In contemporary ballroom dance, the fast versions of the waltz are called Viennese Waltz.

International Standard Waltz has only closed figures; that is, the couple never breaks the embrace.

The American Style Waltz, in contrast to the International Standard Waltz, involves breaking contact almost entirely in some figures. For example, the Syncopated Side-by-Side with Spin includes a free spin for both partners. Open rolls are another good example of an open dance figure, in which the follower alternates between the lead's left and right sides, with the lead's left or right arm (alone) providing the lead. Waltzes were the staple of many American musicals and films, including "Waltz in Swing Time" sung by Fred Astaire.

The Cross Step Waltz is a newer style of waltz where the first step is a cross-step into the line of direction. This was popularized in classes at Stanford University and allows for a much richer assortment of variations.

The Scandinavian Waltz. Performed as a part of Scandinavian folk dance, this can be fast or slow, but the dancers are always rotating.

The Peruvian Waltz (Called and recognized in Peru as ''vals criollo'').

The Curaçaon waltz. The first composer to write Curaçaon waltzes was Jan Gerard Palm (1831–1906). Like the Strauss family in Austria, the Palm family composed numerous popular Curaçaon waltzes. Well known composers of Curaçaon waltzes of the Palm family are Jan Gerard Palm (1831–1906), Jacobo Palm (1887–1982), Rudolph Palm (1880–1950), John Palm (1885–1925), Albert Palm (1903–1957), Edgar Palm (1905–1998) and Robert Rojer (1939). Besides the Palm family, Curaçao born composers such as Joseph Sickman Corsen, Chris Ulder, Jacobo Conrad and Wim Statius Muller are well known for their typical Curaçao waltzes.

The Mexican Waltz (''vals mexicano'') follows the same basic rhythmic pattern as the standard waltz, but the melodies reflect a strong Spanish influence. Mexico's Juventino Rosas wrote "Sobre las Olas" or "Over the Waves", commonly known in the U.S. as a circus song played during a trapeze show.

The Cajun Waltz is danced progressively around the floor, and is characterized by the subtle swaying of the hips and step very close to ordinary walking. It is danced entirely in the closed position.

Tango vals allows the dancers to dance one, two, three, or no steps to any three beats of waltz music, and to vary the number of steps per bar throughout the song.

The Venezuelan waltz

The Contra Waltz (Freeform Waltz), included in most contra dance evenings, uses both open and closed positions, and incorporates moves from other dances such as swing, modern jive and salsa. Basically the dancers progress around the dance floor with a waltz step, but with no constraints on what moves they can use.

The Valse Musette, a form of waltz popular in France starting in the late 19th century

See also

Austrian folk dancing

Waltz (music)

Schuhplattler

Ländler

Zwiefacher

Mazurka

Polska (dance)

Fandango

Sevillanas

Chamarrita

Polonaise

Bourrée

Usul (music)

References

External links

Basic Steps of Waltz Dance

Waltz video example

The Waltz Dance Steps & Moves

Music regarding: Waltz within traditional dances of the County of Nice (France)

Scroll to "Five Step Waltz" for notes about probable 1847 origin and associated music published the same year.

*

Thomas Wilson's 1816 Waltz Manual

* Category:Austrian folk dances Category:German folk dances Category:Dance forms in classical music Category:Triple time dances

ar:فالس ca:Vals cs:Waltz da:Vals de:Walzer (Tanz) et:Valss es:Vals eo:Valso eu:Bals fa:والس fr:Valse fur:Valzer ko:왈츠 hr:Engleski valcer io:Valso it:Valzer he:ואלס la:Valsa lt:Valsas nl:Wals (muziek) ja:ワルツ (ダンス) no:Vals nn:Vals pl:Walc pt:Valsa ru:Вальс sk:Anglický valčík sr:Валцер fi:Valssi sv:Vals (dans) tl:Balse th:วอลซ์ tr:Vals vi:Valse zh:圓舞曲

Johann Strauss II (October 25, 1825 – June 3, 1899), also known as Johann Baptist Strauss or Johann Strauss, Jr., the Younger, or the Son (), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely then responsible for the popularity of the waltz in Vienna during the 19th century.

Strauss was born in St. Ulrich (now a part of Neubau), the son of Johann Strauss I, another composer of dance music. His father did not wish him to become a composer, but rather a banker; however, the son defied his father's wishes, and went on to study music with the composer Joseph Drechsler and the violin with Anton Kollmann, the ballet répétiteur of the Vienna Court Opera. Strauss had two younger brothers, Josef and Eduard Strauss, who became composers of light music as well, although they were never as well-known as their elder brother.

Some of Johann Strauss's most famous works include ''The Blue Danube'', ''Kaiser-Walzer'', ''Tales from the Vienna Woods'', the ''Tritsch-Tratsch-Polka'', and the ''Pizzicato Polka''. Among his operettas, ''Die Fledermaus'' and ''Der Zigeunerbaron'' are the most well-known.

Early life

Strauss was born in St. Ulrich near Vienna (now a part of Neubau), Austria, on October 25, 1825, to the famous composer Johann Strauss I. His father did not want him to become a musician but rather a banker; nevertheless, Strauss Junior studied the violin secretly as a child with the first violinist of his father's orchestra, Franz Amon. When his father discovered his son secretly practising on a violin one day, he gave him a severe whipping, saying that he was going to beat the music out of the boy. It seems that rather than trying to avoid a Strauss rivalry, the elder Strauss only wanted his son to escape the rigors of a musician's life. It was only when the father abandoned his family for a mistress, Emilie Trampusch, that the son was able to concentrate fully on a career as a composer with the support of his mother.

Strauss studied counterpoint and harmony with theorist Professor Joachim Hoffmann, who owned a private music school. His talents were also recognized by composer Joseph Drechsler, who taught him exercises in harmony. His other violin teacher, Anton Kollmann, who was the ballet répétiteur of the Vienna Court Opera, also wrote excellent testimonials for him. Armed with these, he approached the Viennese authorities to apply for a license to perform. He initially formed his small orchestra where he recruited his members at the ''Zur Stadt Belgrad'' tavern, where musicians seeking work could be hired easily.

Debut as a composer

Johann Strauss I's influence over the local entertainment establishments meant that many of them were wary of offering the younger Strauss a contract for fear of angering the father. Strauss Jr. was able to persuade the Dommayer's Casino in Hietzing, a suburb of Vienna, to allow him to perform. The elder Strauss, in anger at his son's disobedience, and at that of the proprietor, refused to ever play at the Dommayer's Casino again, which had been the site of many of his earlier triumphs.

Strauss made his debut at Dommayer's in October 1844, where he performed some of his first works, such as the waltzes "Sinngedichte", Op. 1 and "Gunstwerber", Op. 4 and the polka "Herzenslust", Op. 3. Critics and the press were unanimous in their praise for Strauss's music. A critic for ''Der Wanderer'' commented that "Strauss’s name will be worthily continued in his son; children and children’s children can look forward to the future, and three-quarter time will find a strong footing in him."

Despite the initial fanfare, Strauss found his early years as a composer difficult, but he soon won over audiences after accepting commissions to perform away from home. The first major appointment for the young composer was his award of the honorary position of "Kapellmeister of the 2nd Vienna Citizen's Regiment", which had been left vacant following Joseph Lanner's death two years before.

Vienna was racked by a bourgeois revolution on February 24, 1848, and the intense rivalry between father and son became much more apparent. Johann Jr. decided to side with the revolutionaries. It was a decision that was professionally disadvantageous, as the Austrian royalty twice denied him the much coveted 'KK Hofballmusikdirektor' position, which was first designated especially for Johann I in recognition of his musical contributions. Further, the younger Strauss was also arrested by the Viennese authorities for publicly playing "La Marseillaise", but was later acquitted. The elder Strauss remained loyal to the monarchy, and composed his "Radetzky March", Op. 228 (dedicated to the Habsburg field marshal Joseph Radetzky von Radetz), which would become one of his best-known compositions.

When the elder Strauss died from scarlet fever in Vienna in 1849, the younger Strauss merged both their orchestras and engaged in further tours. Later, he also composed a number of patriotic marches dedicated to the Habsburg Emperor Franz Josef I, such as the "Kaiser Franz-Josef Marsch" Op. 67 and the "Kaiser Franz Josef Rettungs Jubel-Marsch" Op. 126, probably to ingratiate himself in the eyes of the new monarch, who ascended to the Austrian throne after the 1848 revolution.

Career advancements

Strauss Jr. eventually surpassed his father's fame, and became one of the most popular waltz composers of the era, extensively touring Austria–Hungary, Poland, and Germany with his orchestra. He applied for the KK Hofballmusikdirektor ''Music Director of the Royal Court Balls'' position, which he eventually attained in 1863, after being denied several times before for his frequent brushes with the local authorities.

In 1853, due to constant mental and physical demands, Strauss suffered a nervous breakdown. He took a seven-week vacation in the countryside in the summer of that year, on the advice of doctors. Johann's younger brother Josef was persuaded by his family to abandon his career as an engineer and take command of Johann's orchestra in the interim.

In 1855, Strauss accepted commissions from the management of the Tsarskoye-Selo Railway Company of Saint Petersburg to play in Russia for the Vauxhall Pavilion at Pavlovsk in 1856. He would return to perform in Russia every year until 1865.

Later, in the 1870s, Strauss and his orchestra toured the United States, where he took part in the Boston Festival at the invitation of bandmaster Patrick Gilmore and was the lead conductor in a 'Monster Concert' of over 1000 performers, performing his "Blue Danube" waltz, amongst other pieces, to great acclaim.

Marriages

Strauss married the singer Jetty Treffz in 1862, and they remained together until Jetty's death in 1878. Six weeks after her death, Strauss married the actress Angelika Dittrich. Angelika was not a fervent supporter of his music, and their differences in status and opinion, and especially her indiscretion, led him to seek a divorce.

Strauss was not granted a divorce by the Roman Catholic church, and therefore changed religion and nationality, and became a citizen of Saxe-Coburg-Gotha in January 1887. Strauss sought solace in his third wife Adele Deutsch, whom he married in August 1882. She encouraged his creative talent to flow once more in his later years, resulting in many famous compositions, such as the operettas ''Der Zigeunerbaron'' and ''Waldmeister'', and the waltzes "Kaiser-Walzer" Op. 437, "Kaiser Jubiläum" Op. 434, and "Klug Gretelein" Op. 462.

Musical rivals and admirers

Although Strauss was the most sought-after composer of dance music in the latter half of the 19th century, stiff competition was present in the form of Karl Michael Ziehrer and Émile Waldteufel; the latter held a commanding position in Paris. Phillip Fahrbach also denied the younger Strauss the commanding position of the ''KK Hofballmusikdirektor'' when the latter first applied for the post. The German operetta composer Jacques Offenbach, who made his name in Paris, also posed a challenge to Strauss in the operetta field.

Strauss was admired by other prominent composers: Richard Wagner once admitted that he liked the waltz "Wein, Weib und Gesang" Op. 333. Richard Strauss (unrelated to the Strauss family), when writing his ''Rosenkavalier'' waltzes, said in reference to Johann Strauss, "How could I forget the laughing genius of Vienna?"

Johannes Brahms was a personal friend of Strauss; the latter dedicated his waltz "Seid umschlungen, Millionen!" ("Be Embraced, You Millions!"), Op. 443, to him. A story is told in biographies of both men that Strauss's wife Adele approached Brahms with a customary request that he autograph her fan. It was usual for the composer to inscribe a few measures of his best-known music, and then sign his name. Brahms, however, inscribed a few measures from the "Blue Danube", and then wrote beneath it: "Unfortunately, NOT by Johannes Brahms."

Stage works

The most famous of Strauss' operettas are ''Die Fledermaus'', ''Eine Nacht in Venedig'', and ''Der Zigeunerbaron''. Notwithstanding their general lack of modern popularity, there are many dance pieces drawn from themes of his operettas, such as "Cagliostro-Walzer" Op. 370 (from ''Cagliostro in Wien''), "O Schöner Mai" Walzer Op. 375 (from ''Prinz Methusalem''), "Rosen aus dem Süden" Walzer Op. 388 (from ''Das Spitzentuch der Königin''), and "Kuss-Walzer" op. 400 (from ''Der lustige Krieg''), that have survived obscurity and become well-known. Strauss also wrote an opera, ''Ritter Pázmán'', and was in the middle of composing a ballet, ''Aschenbrödel'', when he died in 1899.

Death and legacy

Strauss was diagnosed with plueral pneumonia in the spring of 1899, and died in Vienna, at the age of 73. He was buried in the Zentralfriedhof. At the time of his death, he was still composing his ballet ''Aschenbrödel''.

Strauss's music is now regularly performed at the annual ''Neujahrskonzert'' of the Vienna Philharmonic Orchestra, as a result of the efforts by Clemens Krauss who performed a special all-Strauss programme in 1929 with the Viennese orchestra. Many distinguished Strauss interpreters include Willi Boskovsky, who carried on the "Vorgeiger" tradition of conducting with violin in hand, as is the Strauss family custom, as well as Herbert von Karajan and the opera conductor Riccardo Muti. In addition, the Wiener Johann Strauss Orchester, which was formed in 1966, pays tribute to the touring orchestras which once made the Strauss family so famous.

Most of the Strauss works that are performed today may once have existed in a slightly different form, as Eduard Strauss destroyed much of the original Strauss orchestral archives in a furnace factory in Vienna's Mariahilf district in 1907. Eduard, then the only surviving brother of the three, took this drastic precaution after agreeing to a pact between himself and brother Josef that whoever outlived the other was to destroy their works. The measure was intended to prevent the Strauss family's works from being claimed by another composer. This may also have been fueled by Strauss's rivalry with another of Vienna's popular waltz and march composers, Karl Michael Ziehrer.

Portrayals in the media

The lives of the Strauss dynasty members and their world-renowned craft of composing Viennese waltzes are also briefly documented in several television adaptations, such as ''The Strauss Family'' (1972), ''The Strauss Dynasty'' (1991) and ''Strauss, the King of 3/4 Time'' (1995). Many other films used his works and melodies, and several films have been based upon the life of the musician, the most famous of which is called ''The Great Waltz'' (1938). Alfred Hitchcock made a low-budget biographical film of Strauss in 1933 called ''Waltzes from Vienna''. After a trip to Vienna, Walt Disney was inspired to create four feature films. One of those was ''The Waltz King'', a loosely adapted biopic of Johann Strauss, which aired as part of the Wonderful World of Disney in the U.S. in 1963. In Mikhail Bulgakov's 1940 (published 1967) novel, ''The Master and Margarita'', Johann Strauss conducts the orchestra during Satan's Great Ball at the invitation of Behemoth.

"A Corny Concerto" (1943), a Warner Bros cartoon, directed by Robert Clampett with animation by Robert McKimson features music that was composed by Johann Strauss, and is a parody of Walt Disney's 1940 "Fantasia". The cartoon is narrated by Elmer Fudd, parodying Deems Taylor's appearance in Fantasia.

Works

See List of operettas by Johann Strauss II and List of compositions by Johann Strauss II.

Notes

References

Gänzl, Kurt. ''The Encyclopedia of Musical Theatre'' (3 Volumes). New York: Schirmer Books, 2001.

Traubner, Richard. ''Operetta: A Theatrical History''. Garden City, NY: Doubleday & Company, 1983.

Jacob, H. E. ''Johann Strauss, Father and Son: A Century of Light Music''. The Greystone Press, 1940.

External links

European Archive Copyright free LP recording of several (abridged) works by Johann Strauss II, at the European Archive (for non-American viewers only).

A complete list of Strauss's compositions

Johann Strauss Gallery

List of Strauss's stage works with date, theatre information and links

www.kreusch-sheet-music.net Free Scores by Strauss

Category:19th-century Austrian people Category:Opera composers Category:Romantic composers Category:Viennese composers Category:Ballet composers Category:People from Neubau Category:Burials at the Zentralfriedhof Category:1825 births Category:1899 deaths Johann Strauss II

ar:يوهان شتراوس الابن an:Johann Strauss (fillo) be:Ёган Штраўс, сын bs:Johann Strauss mlađi bg:Йохан Щраус (син) ca:Johann Strauss II cs:Johann Strauss mladší cy:Johann Strauss II da:Johann Strauss den yngre de:Johann Strauss (Sohn) et:Johann Strauß (poeg) el:Γιόχαν Στράους ο νεότερος es:Johann Strauss (hijo) eo:Johann Strauß (filo) eu:Johann Strauss (semea) fa:یوهان اشتراوس (پسر) fr:Johann Strauss II gl:Johann Strauss (fillo) ko:요한 슈트라우스 2세 hy:Յոհան Շտրաուս hr:Johann Strauss mlađi id:Johann Strauss II is:Johann Strauss II it:Johann Strauss (figlio) he:יוהאן שטראוס (הבן) krc:Штраус, Иоганн (джаш) ka:იოჰან შტრაუსი (შვილი) la:Ioannes Strauss (iunior) lv:Johans Štrauss II lt:Johanas Štrausas hu:Ifj. Johann Strauss mk:Јохан Штраус (помладиот) mr:योहान स्ट्रॉस दुसरा arz:يوهان شتراوس الابن mn:II Иоханн Штраус my:စထရောက်ဂျေ nl:Johann Strauss jr. ja:ヨハン・シュトラウス2世 no:Johann Strauss d.y. pl:Johann Strauss (syn) pt:Johann Strauss (filho) ro:Johann Strauss (fiul) qu:Johann Strauss II ru:Штраус, Иоганн (сын) simple:Johann Strauss II sk:Johann Strauss mladší sl:Johann Strauss mlajši sr:Јохан Штраус млађи sh:Johann Strauss mlađi fi:Johann Strauss nuorempi sv:Johann Strauss d.y. tl:Johan Strauss II th:โยฮันน์ ชเตราสส์ ที่สอง tr:Johann Strauss II uk:Йоганн Штраус (син) vi:Johann Strauss II zh:小约翰·施特劳斯

Johann Strauss III (February 16, 1866 - January 9, 1939; ; also known as Johann Eduard Strauss) was an Austrian composer whose father was Eduard Strauss, whose uncles were Johann Strauss II & Josef Strauss, and whose grandfather was Johann Strauss I. He was unofficially entrusted with the task of upholding his family's tradition after the disbandment of the Strauss Orchestra by his father in 1901. His talents were not fully realised during his lifetime as musical tastes had changed in the Silver Age with more popular composers such as Franz Lehár and Oscar Straus dominating the Viennese musical scene with their operettas, although his uncle, Johann Strauss II, supervised his development as a musician, a fact disputed by Eduard Strauss.

Despite his keen interest in composing, he was better remembered as a conductor. His only stage work, the three-act operetta Katze und Maus, composed in 1898, premiered in Vienna on 23 December 1898, at the Theater an der Wien. Its public reaction bordered on utter dislike, and music critics called for the distraught composer to reassess himself and to appear under a pseudonym, in order not to tarnish the name of his famous relatives. He salvaged the music score and produced independent pieces of which the waltzes ''Sylvianen'' Op. 1 and ''Leonie'' Op. 2 survived obscurity.

He also conducted from the violin in the style of the ''Vorgeiger'' and of his family. In 1903, he elevated the Strauss family to a new age of development when the Deutsche Grammophon AG of Germany recorded his conducting of the Johann Strauss Orchestra on eight single-sided records of works by his family. Principally, he was the first conductor in the Strauss family to actively conduct works to be recorded by prominent recording companies. His later works, such as Dem Muthigen gehört die Welt (''The World Belongs to the Brave''), Op. 25, and Krönungs-Walzer (''Coronation Waltz''), Op. 40, (the latter celebrating the coronation of King Edward VII) were also considerably more popular than his earlier efforts.

Johann Strauss III died in Berlin on 9 January 1939.

References

External links

Category:Viennese composers Category:Austrian composers Category:Opera composers Category:1866 births Category:1939 deaths

es:Johann Strauss III pl:Johann Strauss (wnuk) simple:Johann Strauss III

Coordinates	40°42′15.0″N73°55′4.0″N
name	André Rieu
background	non_vocal_instrumentalist
birth name	André Léon Marie Nicolas Rieu
birth date	October 01, 1949
origin	Maastricht, Holland
instrument	Violin
genre	Waltz
occupation	Conductor, violinist
years active	1978–present
label	Denon Records , Philips
website	www.andrerieu.com
notable instruments	Stradivarius violin (1667) }}

André Léon Marie Nicolas Rieu (born 1 October 1949) is a Dutch violinist, conductor, and composer best known for creating the waltz-playing Johann Strauss Orchestra.

Early life and studies

The name Rieu is of French Huguenot origin. He began studying violin at the age of five. His father, of the same name, was conductor of the Maastricht Symphony Orchestra. From a very young age he developed a fascination with orchestra. He studied violin at the Conservatoire Royal in Liège and at the Conservatorium Maastricht, (1968–1973). His teachers included Jo Juda and Herman Krebbers. From 1974 to 1977, he attended the Music Academy in Brussels, studying with André Gertler, getting his degree "Premier Prix" from the Brussels Royal Conservatory.

Career

At University he performed the ''Gold And Silver Waltz'' by Franz Lehár. Encouraged by the audience reaction he decided to pursue the waltz form. Rieu formed the Maastricht Salon Orchestra and performed as a violinist with the Limburg Symphony Orchestra. In 1987, he created the Johann Strauss Orchestra and his own production company. Since then, his melodramatic stage performances and rock-star demeanor have for some been associated with a revival of the waltz music category. André Rieu plays a 1667 Stradivarius violin.

In April 2009 (Australia)/June 2009 (UK), he made a cameo appearance as himself on "Ramsay Street" in the long-running Australian soap opera ''Neighbours''.

Johann Strauss Orchestra

The Orchestra began in 1987 with 12 members but now performs with between 40 and 50 musicians. At the time the Orchestra first toured Europe, there emerged a renewed interest in waltz music. The revival began in the Netherlands and was ignited by their recording of the ''Second Waltz'' from Shostakovich's ''Jazz Suites''. As a result, Rieu became known as the waltz King.

Rieu and his orchestra have performed throughout Europe, in North America, and Japan. Winning a number of awards including two World Music Awards, their recordings have gone gold and platinum in many countries, including 8-times Platinum in the Netherlands. In September 2007 Rieu performed in Australia for the first time solo, without his Orchestra at the Eastland shopping centre in the Melbourne suburb of Ringwood playing "My Way" and "Waltzing Matilda"—and the next day appeared at Sydney's Arena Cove, Warringah Mashopping with the same set. Rieu and orchestra returned to Australia in November as part of his world tour. Rieu and his orchestra played 3 concerts at Melbourne's Telstra Dome from 13–15 November and continued their tour throughout Perth, Sydney, Brisbane and Adelaide, through to December 2008. The concert theme is 'A Romantic Vienna Night' and the set comprises a life-size reproduction of the Viennese imperial Schönbrunn Palace, complete with 2 ice-skating rinks, 2 Fountains, and a ballroom dance floor situated above and behind the Orchestra. Rieu's largest concert attendance to date in Australia was 38,000 on Saturday 15 November in Melbourne. The Perth concert did not feature the replica of the Viennese Palace as it was stated in the press because it would not fit into the front doors of Subiaco Oval.

He records both DVD and CD repertoire at his own recording studios in Maastricht in a wide range of classical music as well as popular and folk music plus music from well-known soundtracks and musical theatre. His lively orchestral presentations, in tandem with incessant marketing, have attracted worldwide audiences to this subgenre of classical music.

Some of his orchestra's performances have been broadcast in the United Kingdom and the United States on the PBS television network such as the 2003 airing of ''Andre Rieu Live in Dublin'', filmed in Dublin, Ireland, and 2005's ''André Rieu Live in Tuscany'' filmed in the Piazza Della Repubblica in the village of Cortona in Tuscany.

Reception

Rieu's recorded music and live performances have been a cause of controversy in the music and popular press. He has attracted criticism from the artistic director of the Australian Chamber Orchestra, Richard Tognetti, who called Rieu's music Schlagermusik, among other things.

Eamon Kelly writing in ''The Australian'' newspaper, in an article that discusses the controversy that Rieu engenders, said: "He depicts his critics as members of a stuffy musical elite with narrow aesthetic tastes, yet regularly demeans in interviews music that is not to his taste and classical musicians who choose not to perform in his manner."

Of Rieu's popularity and the debate in the media over criticism of him, Eamon Kelly says:

It is disappointing to see professional journalists indulging in cheap, inaccurate stereotypes to dismiss criticism of Rieu.

But he goes on to add:

Equally misguided are those who cursorily dismiss Rieu. Rieu's live and recorded performances have brought joy to millions of people. Few in his audiences are regular classical music attendees and it could be seen as promising that, via Rieu, they are listening to standards of the classical canon. The fact that Rieu's focus is on highly accessible, enjoyable repertoire is not an argument against his musical credentials.

Eamon Kelly further adds, after hearing the orchestra perform, that there is "no cause" for Rieu's boast his orchestra was "superior to the many other orchestras that specialise in ... Viennese and popular classical repertoire." Additionally, he found that in musical terms "the performance did not surpass playing standards in Australia's major symphony orchestras". He did add that the "oboist, Arthur Cordewener, provided the most impressive musical performance with a sublime introduction to an otherwise unremarkable performance of [Ravel's] ''Boléro''."

David Templeton, writing in the magazine ''All Things Strings'' says:

Ironically, it is Rieu’s own success that has earned him a horse-drawn carriage full of criticism, a pot-shot laden backlash aimed chiefly at the calculated emotionalism and theatrical flourishes of his performances, which, according to many, only cheapen the classical-music experience. Classical radio stations avoid his music as they might avoid a leper in the mall, though—let’s just say it plain and clear—Rieu is a superb violinist.

Chris Boyd, a critic writing for Melbourne's ''Herald Sun'' newspaper, finds that he could not give a general criticism of the playing of Rieu, as, except for "a clean and lyrical solo in ''Waltzing Matilda''", his main stage function was apparently "blarney and delegation". However, Boyd also comments that the quality of the artists that Rieu works with is "extraordinary". Boyd assesses the low points of the concert as the "Three Tenors-style" rendition of "Nessun dorma" which he finds was an "abomination", while saying the concert's highlights included "a sugar-shock sweet rendition" of "O mio babbino caro" as well as Strauss's ''Emperor Waltz'' and ''Blue Danube'', Clarke's ''Trumpet Voluntary'' and the ''Boléro''.

Personal life

He is married to Marjorie, who works with him full-time as production manager, and has two sons, Marc and Pierre. He speaks (in order of fluency) Dutch, English, German, French, Italian and Spanish.

Honours

Knight of the Order of the Netherlands Lion (Netherlands, 2002)

Honorary Medal of the Province of Limburg (Netherlands, 2009)

Knight of the Ordre des Arts et des Lettres (France, 2009)

== Selected discography ==

''And the Waltz Goes On'' (2011)

''Moonlight Serenade'' (2011) – Australian Albums: No.17

''You Raise Me Up – Songs for Mum'' (2010) – Australian Albums: No.8

''Forever Vienna'' (2009) – UK: #2, IRE: No.4

''The Best of André Rieu'' (2009) – Australian Albums: No.23

''Masterpieces'' (2009) – Australian Albums: No.9

''You'll Never Walk Alone'' (2009) – Australian Albums: No.2

''Live in Australia'' (2008) – Australian Albums: No.14

''Waltzing Matilda'' (2008) – Australian Albums: No.1

''The 100 Most Beautiful Melodies'' (2008) – Australian Albums: No.2

''Live in Dresden: The Wedding at the Opera'' (2008)

''In Wonderland'' (2007)

''Live in Vienna'' (2007)

''Auf Schönbrunn'' (2006)

''New York Memories'' (2006)

''Songs from My Heart'' (2005)

''Christmas Around the World'' (2005)

''Live in Tuscany'' (2004)

''The Flying Dutchman'' (2004)

''New Year's Eve in Vienna'' (2003)

''André Rieu at the Movies'' (2003)

''Live in Dublin'' (2003)

''Romantic Paradise'' (2003)

''Maastricht Salon Orkest – Serenata'' (2003)

''Love Around the World'' (2002)

''Dreaming'' (2002)

''Live at the Royal Albert Hall'' (2001)

''Musik Zum Träumen'' (2001)

''La Vie Est Belle'' (2000)

''Fiesta!'' (1999)

''100 Years of Strauss'' (1999)

''Romantic Moments'' (1998)

''Waltzes'' (1998, re-edited in November 1999)

''The Christmas I Love'' (1997)

''The Vienna I Love'' (1997)

''In Concert'' (1996)

''Strauss gala'' (1995)

''D'n blauwen aovond'' (1995)

''Hieringe biete 1 & 2'' (1995)

''Strauss & Co'' (1994)

''Hieringe biete'' (1993)

''Merry Christmas'' (1992)

''Romeo and Juliet Love Theme''

References

External links

André Rieu (official website)

Official André Rieu Facebook page

André Rieu on Twitter

Official André Rieu YouTube Channel

André Rieu's Official Australian website

André Rieu (C Music TV Biography)

The Magic of Andre Rieu

Category:1949 births Category:Living people Category:Dutch classical violinists Category:Dutch conductors (music) Category:Maastricht Academy of Music alumni Category:People from Maastricht Category:People of Huguenot descent Category:Chevaliers of the Ordre des Arts et des Lettres Category:Dutch people of French descent

ar:أندري ريو bg:Андре Рийо ca:André Rieu cs:André Rieu da:André Rieu de:André Rieu es:André Rieu fr:André Rieu hr:André Rieu it:André Rieu he:אנדרה ריו li:André Rieu hu:André Rieu nl:André Rieu ja:アンドレ・リュウ pl:André Rieu pt:André Rieu ru:Рьё, Андре sv:André Rieu war:André Rieu zh:安德烈·瑞欧

Coordinates	40°42′15.0″N73°55′4.0″N
Name	Patti Page
Background	solo_singer
Birth name	Clara Ann Fowler
Birth date	November 08, 1927
Origin	Claremore, Oklahoma, U.S. [many sources give Muskogee, OK]
Instrument	Vocals
Genre	Traditional pop, country
Occupation	Singer
Years active	1948–present
Label	Mercury Columbia Epic Avco Plantation
Website	misspattipage.com }}

Clara Ann Fowler (born November 8, 1927), known by her professional name Patti Page, is an American singer, one of the best-known female artists in traditional pop music. She was the best-selling female artist of the 1950s, and has sold over 100 million records. Her nickname is ''The Singin' Rage''.

Page signed with Mercury Records in 1947, and became their first successful female artist, starting with 1948's "Confess." In 1950, she had her first million-selling single "With My Eyes Wide Open, I'm Dreaming," and would eventually have 14 additional million-selling singles between 1950 and 1965.

Page's signature song, "Tennessee Waltz," recorded in 1950, was one of the biggest-selling singles of the twentieth century, and is also one of the two official state songs of Tennessee. "Tennessee Waltz" spent 13 weeks atop the ''Billboard magazine's Best-Sellers List'' in 1950. Page had three additional #1 hit singles between 1950 and 1953, with "All My Love (Bolero)", "I Went to Your Wedding," and "(How Much Is That) Doggie in the Window."

Unlike most pop music singers, Page blended the styles of country music into many of her most popular songs. By doing this, many of Page's singles also made the Billboard Country Chart. Towards the 1970s, Page shifted her career towards country music, and she began charting on the country charts, up until 1982. Page is one of the few vocalists who have made the country charts in five separate decades.

When rock & roll music became popular during the second half of the 1950s, traditional pop music was becoming less popular. Page was one of the few traditional pop music singers who was able to sustain her success, continuing to have major hits into the mid-1960s with "Old Cape Cod," "Allegheny Moon," "A Poor Man's Roses (Or a Rich Man's Gold)," and "Hush, Hush, Sweet Charlotte."

In 1997, Patti Page was inducted into the Oklahoma Music Hall of Fame. In 2007 Patti Page was inducted into the Hit Parade Hall of Fame.

Early life

Page was born Clara Ann Fowler on November 8, 1927, in Claremore, Oklahoma, (although some sources give Muskogee, Oklahoma). She was born into a large and poor family. Her father worked on the MKT railroad, while her mother and older sisters picked cotton. As she related on television many years later, the family went without electricity, and therefore she could not read after dark. She attended Daniel Webster High School in Tulsa, from which she graduated in 1945.

Fowler became a featured singer on a 15-minute radio program on radio station KTUL, Tulsa, Oklahoma, at age 18. The program was sponsored by the "Page Milk Company." On the air, Fowler was dubbed "Patti Page," after the Page Milk Company. In 1946, Jack Rael, a saxophone player and band manager, came to Tulsa to do a one-night show. Rael heard Page on the radio and liked her voice. Rael asked her to join the band he managed, the "Jimmy Joy Band." Rael would later become Page's personal manager, after leaving the band.

Page toured with the "Jimmy Joy Band" throughout the country in the mid-1940s. The band eventually ended up in Chicago, Illinois, in 1947. In Chicago, Page ate with a small group led by popular orchestra leader, Benny Goodman. This helped Page gain her first recording contract with Mercury Records the same year. Page became Mercury Records' "girl singer."

Music career

Pop success: 1948 – 1949

Page recorded her first hit single in 1947 titled "Confess," during a strike meaning background singers were not available to provide harmony vocals for the song. Instead, Page and the label decided to overdub her vocals on the song, in harmony. Mitch Miller, who produced for Mercury Records, was able to overdub Page's voice, due to his well-known use of technology. Thus, Page became the first pop artist to overdub her vocals on a song. This idea would later be used on Page's biggest hit singles in the 1950s. In 1948, "Confess" became a Top 15 hit on ''Billboard magazine,'' peaking at #12 on the "Best-Sellers" chart, becoming her first major hit on the pop chart. Page followed the single with four more in 1948-1949, only one of which was a Top 20 hit, "So in Love" (1949). Page also had a Top 15 hit on the ''Billboard magazine country chart'' in 1949 with "Money, Marbles, and Chalk."

In 1950, Page had her first million-selling single "With My Eyes Wide Open, I'm Dreaming," another song where she harmonized her vocals. Because she was overdubbing her vocals, Page's name would be listed on the Pop charts as a group name. According to one early-1950s' chart, Page was titled as "The Patti Page Quartet," among others. Towards the middle of 1950, Page's single, "All My Love (Bolero)" peaked at #1 on ''Billboard magazine,'' becoming her first #1 hit, spending five weeks there. That same year, she also had her first Top 10 hit with "I Don't Care If the Sun Don't Shine," as well as the Top 25 single, "Back in Your Own Backyard."

"Tennessee Waltz": 1950

Towards the end of 1950, Page's version of "Tennessee Waltz" became her second #1 hit, and her most-popular and biggest-selling single. "Tennessee Waltz" was originally recorded by country music band Pee Wee King & His Golden West Cowboys in 1947, becoming a major hit on the country charts for them in 1948. It also became a major country hit for country star Cowboy Copas around the same time. Page was introduced to the song by Jerry Wexler, who suggested she cover a recent R&B; version by the Erskine Hawkins orchestra. Page liked the song and she eventually recorded and released it as a single. The song spent 13 weeks at #1 between 1950 and 1951. "Tennessee Waltz" also became Page's second single to reach the country chart, becoming her biggest hit there, reaching #2. The song would later become one of the best-selling records of the time, selling seven million copies in the early '50s, which prompted various cover versions of the song to appear on the charts during the year. "Tennessee Waltz" has also represented the biggest commercial success for the overdubbing technique to date. Today, the song has come close to selling fifteen million copies. It also became the last song to sell one million copies of sheet music, due to the increasing popularity of recorded music. It was featured in the 1983 film ''The Right Stuff''.

Breakthrough: 1951 – 1965

In 1951, Page released the follow-up single to "Tennessee Waltz" called "Would I Love You (Love You, Love You)," which was a Top 5 hit, and also sold a million copies. The next single, "Mockin' Bird Hill," (a cover of the version by Les Paul and Mary Ford was another major hit that year) was her fourth single that sold a million copies. Page had three additional Top 10 hits on ''Billboard magazine'' in 1951, starting with "Mister and Mississippi," which peaked at #8, "And So to Sleep Again", and "Detour," which had previously been recorded and made famous by Foy Willing and Elton Britt. Page's version became the most-popular and would become Page's seventh million-selling single. She also released her first studio album in 1951 titled, ''Folk Song Favorites,'' covers of Page's favorite folk songs. In 1952, Page had a third #1 hit with "I Went to Your Wedding," which spent two months at the top spot. Recorded in a country ballad style, the song was the flip-side of one of her other Top 10 hits that year, "You Belong to Me." "I Went to Your Wedding" became more successful, and the single became Page's eighth million-selling single in the United States (ironically, it displaced Jo Stafford's version of "You Belong to Me" at #1 on Billboard's Best Seller chart). She had continued success that year, with three additional songs in the Top 10 with "Come What May," "Once In a While," and "Why Don't You Believe Me" (the most popular version was recorded by Joni James).

In 1953, a novelty tune, "(How Much Is That) Doggie In the Window" became Page's fourth #1 hit, selling over a million copies, and staying on the best-sellers chart for five months. The song included a dog barking in the recording, which helped make the song popular and one of her best-known and signature songs. The song was written by novelty tune specialist, Bob Merrill. It was originally recorded by Page for a children's album that year. She had a series of Top 20 hits that year. A final single that year reached the Top 5 titled "Changing Partners," which peaked at #3 and stayed on the charts for five months. The song was also recorded in a country melody, like many of Page's hits at the time. Into 1954, Page had further hits, including "Cross Over the Bridge," which also over-dubbed Page's vocals and became a major hit, peaking at #2, nearly reaching the top spot. Other Top 10 hits by Page that year included, "Steam Heat" (from the Broadway musical ''The Pajama Game'') and "Let Me Go Lover" (the best known version of the latter recorded by Joan Weber). In 1955 Page had one charting single with "Croce di Oro," due to the increasing popularity of Rock & Roll music. Unlike most traditional pop music singers at the time, Page was able to maintain her success in the late-50s (although not as successful as the early-50s), having three major hits in 1956, including the #2 hit "Allegheny Moon." In 1957 she had other major hits with "A Poor Man's Roses (Or a Rich Man's Gold)" (recorded the same year by Patsy Cline) and the Top 5 hit, "Old Cape Cod."

In 1956 Vic Schoen became the musical director for Patti Page producing a long string of hits that included Mama From the Train, Allegheny Moon, Old Cape Cod, Belonging To Someone, and Left Right Out of Your Heart. Page and Schoen’s most challenging project was a new recording of Gordon Jenkins narrative tone poem Manhattan Tower (recorded September 1956). The album was a tremendous success, both artistically and commercially, reaching No. 18 on the Billboard LP chart, the highest ranking of any album she ever made. Vic Schoen’s arrangements were far more lively and jazzy than the original Jenkins arrangements. Schoen recalled, “Patti was an alto, but I pushed her to reach notes higher than she had sung before for this album. We always enjoyed working together.” Page and Schoen kept in touch and worked together all the way up until 1999.

During the 1950s, Page regularly appeared on a series of network television shows and programs, including ''The Dean Martin Show,'' ''The Ed Sullivan Show,'' and ''The Steve Allen Show.'' This eventually led to Page acquiring some television specials of her own during the 1950s. Page would later have her own series, beginning with ''Scott Music Hall'' on NBC in the 1952-53 season, and a syndicated series for Oldsmobile in 1955 titled ''The Patti Page Show''. However, the show only lasted one season, as did ''The Big Record'' on CBS (1957–58) and ABC's ''The Patti Page Olds Show'' (1958–59). Page also acted in fims during this time, given a role on the CBS show, ''Playhouse 90.'' Page made her film debut in the 60s, with the 1960 film, ''Elmer Gantry.'' Page also recorded the theme song for the film, ''Boys Night Out,'' in which Page also had a role, playing Joanne McIllenny.

In the early 1960s, Page's success began to decrease, having no major hits up until 1961's "You'll Answer to Me" and "Mom and Dad's Waltz." Page had her last major hit on the Billboard Pop Chart in 1965 with "Hush...Hush, Sweet Charlotte," from the film of the same name starring Bette Davis and Olivia De Havilland, which peaked at #8, becoming her last top 10 hit (and her first since 1957).

Adult contemporary & country music: 1966 – 1982

Before releasing "Hush...Hush, Sweet Charlotte," Page signed with Columbia Records, where she stayed towards the end of the decade. She released a few studio albums for the Columbia label in the 60s. Up until 1970, her singles began to chart on the Hot Adult Contemporary Tracks chart. Many of these singles became major hits, peaking in the Top 20, including cover versions of "You Can't Be True, Dear," "Gentle On My Mind" and "Little Green Apples" (the latter being her last pop chart entry). Page, who is a fan of country music, has recorded cover versions of many country songs throughout the years. Some of these songs were recorded under Columbia and were released as Adult Contemporary singles, including David Houston's "Almost Persuaded" and Tammy Wynette's "Stand by Your Man." Page left Columbia at the end of the 60s.

In 1970, Page returned to Mercury Records and shifted her career towards country music. In 1973, she returned to working with her former record producer, Shelby Singleton. Under Mercury, Columbia, and Epic in the 70s, Page recorded a series of country singles, beginning with 1970's "I Wish I Had a Mommy Like You," which became a Top 25 hit, followed by "Give Him Love," with similar success. In 1971, she released a country music studio album, ''I'd Rather Be Sorry,'' for Mercury records. In the early 70s, she had additional charted hits; her most successful was in 1973, a duet with country singer Tom T. Hall titled, "Hello, We're Lonely" which was a Top 20 hit, reaching #14 on the Bilboard Country Chart.

Also, in 1973, Page moved back to Columbia Records, recording for Epic Records (a subsidiary). In 1974 and 1975, she released singles for Avco records again, with country singles "I May Not Be Lovin' You" and "Less Than the Song," both of which were minor country hits. After a five-year hiatus, she recorded for Plantation Records in 1980. In the early 80s, she also performed with major symphony orchestras in Cincinnati, Ohio, and Mexico City, Mexico. She had a Top 40 hit with the Plantation label in 1981 titled "No Aces," followed by a series of minor country hits, including her last-charting single, "My Man Friday," which reached #80.

Later career: 1983 – present

In 1986 Page and arranger Vic Schoen reunited for a stage show in Las Vegas.

In 1988, Page appeared in New York City to perform at the Ballroom, making it the first time she performed in New York in nearly twenty years. She received positive reviews from music critics. In the 1990s, Page founded her own record label, C.A.F. Records, which released various albums, including a 2003 children's album. In the early '90s, Page moved west to San Diego, California, and continued to perform live shows at venues across the country.

In 1998, Page recorded her first live album. It was performed at Carnegie Hall in New York and titled, ''Live at Carnegie Hall: The 50th Anniversary Concert''. The album won Page a Grammy Award the following year for ''Best Traditional Pop Vocal Performance'' which, despite her prolific career, was her first Grammy. In 2000, she released a new album, ''Brand New Tennessee Waltz,'' which consisted of new music. Harmony vocals were provided by popular country stars, including Suzy Bogguss, Alison Krauss, Kathy Mattea, and Trisha Yearwood. The album was promoted at the Ryman Auditorium in Nashville, Tennessee in 2000. On October 4, 2001, Bob Baines, the mayor of Manchester, New Hampshire declared the day "Patti Page Day" in the town. Miss Page was in Manchester to perform a sold-out concert at the Palace Theatre to benefit Merrimack Valley Assistance Program.

In 1998, a sample of Patti Page's recording of "Old Cape Cod" formed the basis of Groove Armada's 1998 UK hit "At the River". The lines "If you're fond of sand dunes and salty air, / Quaint little villages here and there..." sung in Page's multi-tracked close-harmony, are repeated over and over, with the addition of synthesizer bass, slowed-down drums and a bluesy trombone solo to produce a chill-out track. The success of this track exposed Page's music to a younger audience.

In 1999, Vic Schoen reunited with Page to record a CD for a Chinese label.

In 2005, she performed a series of engagements at a theatre in Branson, Missouri, starting on September 12.

Until recently, Page was a host of a weekly Sunday program on the "Music of Your Life" radio network. She and Jack White of The White Stripes were interviewed in January 2008, after the White Stripes recorded Page's early '50s hit, "Conquest" on their 2007 studio album, ''Icky Thump.'' Page and White were put together on the phone during the interview, talking to each other about their views on "Conquest." In 2007, Page was inducted into the Hit Parade Hall of Fame.

Now in her mid-80s, Page continues to tour, performing 50 select concerts a year across the United States and Canada.

Style

During the time of Page's greatest popularity (the late '40s and '50s), most of her traditional pop music counterparts included jazz melodies into their songs. Page also incorporated jazz into some of her songs; however on most of her recordings, Page added a country music arrangement.

During the '50s, Mercury Records was controlled by Mitch Miller, who produced most of Page's music. Miller found that the simple-structured melodies and storylines in country music songs could be adapted to the pop music market. Page, who was born in Oklahoma, felt comfortable using this idea. Many of Page's most successful hits featured a country music arrangement, including her signature song, "Tennessee Waltz," as well as "I Went to Your Wedding" and "Changing Partners." Some of these singles charted on the Billboard Country Chart during the '40s, '50s, and early '60s for this reason.

Many other artists were introduced to Page's style and incorporated the same country arrangement into many of their songs, including The Andrews Sisters and Bing Crosby, who together had a #1 hit on the country charts in the late '40s with "Pistol Packin' Mama."

Personal life

In his autobiography, ''Lucky Me'', published in 2011, former major league baseball star and front-office executive Eddie Robinson discloses that he dated Page during the period before her first marriage.

Page has been married three times. She married University of Wisconsin student Jack Skiba in May 1948 and moved with him to New York, but asked for and received a no-fault divorce in Wisconsin within a year. Her second husband was Charles O'Curran, a choreographer, whom she married in 1956. Together, Page and O'Curran adopted two children: a son, Danny, and a daughter, Kathleen. They divorced in 1972.

Page married her third husband, Jerry Filiciotto, in 1990. Filiciotto died on April 18, 2009. They ran a maple syrup business in New Hampshire and resided in Solana Beach, California.

One of legendary Hollywood arranger Vic Schoen’s favorite singers for whom he arranged songs was Patti Page. Schoen once recalled, "She was one of the nicest and most accommodating singers I've ever worked with." She and Schoen remained close friends and spoke regularly until his death in 2000.

Discography

''(For a more complete collection, see ''List of songs recorded by Patti Page.)''

Television appearances

''What's My Line?'' (CBS, September 22, 1955) (Episode # 381) (Season 9, Ep 4) Mystery Guest

''Appointment with Adventure'' ("Paris Venture", CBS, February 26, 1956)

Filmography

''Elmer Gantry'' (1960)

''Dondi'' (1960)

''Boys' Night Out'' (1962)

2004: ''The Patti Page Video Songbook''

2004: ''Patti Page - Sings the Hits''

2005: '' In Concert Series: Patti Page''

See also

List of the best-selling music artists

List of popular music performers

Bibliography

Once Upon a Dream: A Personal Chat With All Teenagers (1960)

This is My Song: A Memoir - Patti Page with Skip Press (2009)

References

External links

The Official Patti Page Website

Patti Page Official Biography

Interview with Patti Page

Songwriters' Hall of Fame article on Patti Page

Category:1927 births Category:Living people Category:People from Claremore, Oklahoma Category:Musicians from Oklahoma Category:American female singers Category:American country singers Category:American pop singers Category:Traditional pop music singers Category:Grammy Award winners Category:Mercury Records artists Category:Oklahoma Music Hall of Fame inductees

da:Patti Page de:Patti Page fa:پتی پیج fr:Patti Page ko:패티 페이지 id:Patti Page is:Patti Page it:Patti Page ja:パティ・ペイジ nov:Patti Page ru:Патти Пейдж simple:Patti Page fi:Patti Page sv:Patti Page th:แพตตี เพจ