This waltz falsely attributed to Strauss is actually by indigenous Mexican composer Juventino Rosas

1 April 2025, 17:20 | Updated: 2 April 2025, 15:15

Johann Strauss might be known as the Waltz King, but he is not the only one to have written iconic waltzes.

When you think of a waltz, it’s likely that your thoughts turn to Johann Strauss, the Viennese composer often dubbed ‘The Waltz King’. Renowned for some of the most famous waltzes in history, such as The Blue Danube, Strauss’ influence on the genre is undeniable.

Yet, one of the most beloved waltzes, Sobre las olas, was composed by the indigenous Mexican musician Juventino Rosas and is frequently misattributed to Strauss.

The term ‘waltz’ derives from the German word ‘walzer,’ meaning to revolve or roll. This dance, characterised by its triple time, is understood to be rooted in German tradition, especially in Vienna.

Strauss played a pivotal role in popularising the waltz throughout the 19th century, with The Blue Danube standing as one of the genre's most celebrated pieces. In fact, Walt Disney even produced a film titled The Waltz King in tribute to Strauss.

Read more: The ten most bizarre Viennese waltzes

Meanwhile, across the Atlantic in 1888, about two decades after the debut of The Blue Danube, Juventino Rosas unveiled his enchanting waltz, Sobre las olas, meaning ‘over the waves’. It was inspired by a river near Mexico City.

It is a piece that has featured in films, television and even video games since the 1930s. It is hummed by Dick van Dyke in Mary Poppins, Harvey Korman danced to it on the Muppet show in 1976, and was of course featured in Ismael Rodríguez’s 1950 biographical film, Sobre las olas, about the Rosas’ life.

In this clip of the film Sobre las olas, Pedro Infante portrays the composer as he conducts his most famous work.

Sobre las Olas: Dirigiendo la orquesta (1950)

Read more: The best films about classical music

Rosas was born in Santa Cruz de Galeana in 1868 to parents who were Otomí, one of Mexico’s indigenous groups. When he was a child, he and his family moved to Mexico City, where he learnt composition whilst performing in salons. He composed his famous waltz when he was about 20, and died just six years later at the age of 26 after contracting a viral infection while on tour in the US.

He had sold the piece for 45 pesos (about £1.75), but lost a battle for the royalties, meaning that, whilst he composed one of the most universally known melodies, he died without the financial remuneration he should have deserved. 

While European audiences tend to associate waltzes and other folk dance music, like the polka, schottische, mazurka, and march with German composers in the 18th and 19th centuries, these styles were developing in Mexico at the same time.

André Rieu - The Beautiful Blue Danube

According to research by ethnomusicologist Teresa Magdanz, many popular European musical forms were ‘imported from the first days of European-indigenous contact in the early 16th century’. European and indigenous musical traditions have long coexisted and influenced one another, but these cross-cultural exchanges are often overlooked, particularly in mainstream narratives of Western classical music.

Sadly, Rosas’ premature death at the age of 26 cut short what could have been an even more profound impact on both Mexican and international music. Yet, the misattribution of Sobre las olas to Strauss highlights an ongoing issue in classical music history: the erasure of non-European composers and the tendency to elevate Western (and often white) figures as the default creators of certain genres.

The story of Rosas and Sobre las olas illustrates an ongoing need to reassess how we view the history of classical music and the people behind it. By examining the life of Juventino Rosas and his contribution to the waltz, we gain a more inclusive understanding of the genre’s global impact and legacy.

Rosas’ enduring melody proves that the world of classical music is far more diverse and nuanced than traditional narratives often suggest...