Strauss also adapted various popular melodies of his day into his works so as to ensure a wider audience, as evidenced in the incorporation of the Oberon overture into his early waltz, "Wiener Carneval", Op. 3, and also the French national anthem "La Marseillaise" into his "Paris-Walzer", Op. 101.
Johann Sebastian Bach | Johann Wolfgang von Goethe | Richard Strauss | Levi Strauss & Co. | Johann Strauss II | Strauss | St. Johann in Tirol | Johann Heinrich Pestalozzi | Claude Lévi-Strauss | Johann Albert Fabricius | Johann Christian Bach | Johann Georg Wagler | Levi Strauss | Johann Pachelbel | Johann Nepomuk Hummel | Johann Gottfried Herder | Peter Strauss | Neil Strauss | Johann Nestroy | Leo Strauss | Johann Joachim Winckelmann | Johann Gottlieb Fichte | Johann Bernhard Fischer von Erlach | David Strauss | Johann Homann | Johann Friedrich Böttger | Franz Josef Strauss | Dominique Strauss-Kahn | Johann Kuhnau | Johann Heinrich Lambert |
In 1909, he was awarded the honorary post of the 'KK Hofballmusikdirektor', which was created for Johann Strauss I more than half a century earlier, and subsequently dominated within the Strausses with Johann Strauss II and Eduard Strauss also holding the office for many years.
It was called the Marseillaise of the heart (Eduard Hanslick, a critic from Vienna in the past century) and was supposed to have saved Vienna the revolution (sentence of a biographer of the composer Johann Strauss I), while Strauss I himself was called the Napoleon Autrichien (Heinrich Laube, poet from the north of Germany).