Encyclopedia of Dance: Waltz. Slow Waltz I. Strauss “Spring Voices”

(from German Walzen - circle, rotate), a romantic ballroom dance in three-part meter, consisting in a smooth progressive whirling of couples, as well as music for this dance.

When you hear a waltz, you will never make a mistake and confuse it with other dances. Thousands of songs sound in the rhythm of the waltz. A symbol of romantic love, the waltz has been immortalized by the greatest composers of all countries and times: Strauss, Schubert, Lehar, Glinka, Weber, Chopin, Tchaikovsky. They introduce waltz melodies into their operas and piano works.

Waltz as a dance knows no competitors. Appearing, he was a huge success in all walks of life and made a splash in numerous ballrooms.

It is supposed to have originated from an Austro-German folk dance landler and French volts at the end of the XVIII century. True, the landler was performed very slowly, and the volta, on the contrary, was performed quickly, with jumps and air lifts, but both of these dances consisted mainly of turns ( rotations).

The characteristic feature and charm of the waltz lies in the continuous and smooth whirling of the dancing couples, combined with the general movement in a circle ( dance lines). With its spontaneity, liveliness and simplicity, the waltz brought a bright stream into the aristocratic salons with their ceremonial, cutesy and pretentious minuets and gavottes. Although the waltz, like most ballroom dances of that time, originated from folk dancing, he was rebuffed by the aristocratic circles who dictated the ballroom repertoire. The waltz replaced the prim, strict etiquette relationship between the gentleman and the lady with the direct communication of partners. The waltz was considered an indecent, indecent dance: “how is it to grab a lady by the waist and spin around the hall with her!” ("Russian Messenger", 1878) The waltz was the most romantic dance, and the closeness of the dancers was conducive to tender explanations. Will such a dance shake the moral foundations of society? The dance was subjected to real persecution. The fight against the waltz was carried out officially and was irreconcilable, many orders were issued to ban it.

Waltz: Lithograph by F. von Reznicek. 1908

In the first decade of the nineteenth century in Vienna it was forbidden to waltz for more than 10 minutes. Conservative English society allowed the waltz a quarter of a century later than most other European countries.

In Russia, the waltz appeared during the reign of Catherine II, but did not enjoy the approval of the Empress. Under Emperor Paul I, "the use of a dance called waltz" was officially prohibited. Only Alexander I gave the highest approval to the waltz, having personally performed a dance tour on one of the courtiers. points.

The waltz was traditionally performed as the second dance at the ball and was often a direct continuation polonaise. Waltzing may seem simple to some, but it takes a lot of practice to make the couple’s movements feel light and graceful.

It was impossible to stop the spread of the waltz. The popularity of the waltz was promoted by Viennese composers and conductors: Lanner, Johann Strauss-father, and especially Johann Strauss- the son who gave the world more than 400 waltzes.

Especially for the waltz, large dance halls were opened, which could accommodate up to 3000 couples! The waltz won not only outgoing, but also newly emerging, fashionable dances.

The entire 19th century passed under the symbol of a graceful, flying, passionate waltz, it was danced everywhere, in all circles of society; he penetrated many genres of professional music: opera, ballet, symphony, suite, his music acquired an independent concrete meaning. The waltz influenced the development of all European music in the 19th and 20th centuries.

The waltz changed and developed and as a result gave rise to new dances, such as slow waltz, waltz boston, as well as "hybrid" dances ( waltz-mazurka, waltz gavotte etc.) A three-way waltz was distributed ( aleman) and a waltz in two steps, popular in Russia.

True, the history of the waltz also knew temporary recessions. Appearance polkas how ballroom dance in the 40s of the XIX century. slightly reduced interest in the waltz. But gradually, an unspoken tradition was established in all European capitals: the first ball is always a white dress, a tuxedo and a waltz!

Waltz is a wonderful dance that has inspired many poets for soulful lines.

Dance was a constant presence in people's lives. From ancient times to the present day, it has been one of the ways of self-expression. Previously, dances could be seen in rural squares or in magnificent palace halls. Some of them are forever preserved in their era. Others have successfully reached our time. Waltz is one of the dances that has not lost its popularity so far.

The origin of the waltz

This extremely exciting and always youthful dance has lived for two centuries and is wildly popular. In Austria, Germany and the Czech Republic, on various holidays, peasants merrily circled in pairs. Walzen means "to roll" in German. Hence the name of the dance. Gradually, the “stomping” and “bouncing” characteristic of folk dances disappeared.

Waltz is one of the dances, which at the turn of the 18th and 19th centuries was rapidly spreading across different countries.

Which composer wrote waltzes?

Many composers turned to the waltz genre. Initially, this dance conquered Vienna. One of Johann Strauss wrote about 447 plays of this kind. Thanks to the special softness of the outlines, the waltz acquired. The music of Frederic Chopin is filled with wide melodic chant. His dances, written in this genre, are distinguished by tenderness and deep penetration. F. Chopin can rightfully be considered the creator of poetic, lyrical and brilliant concert waltzes.

Characteristic features of the waltz

• triple waltz size;
• lyricism;
• plastic;
• grace;
• typical rhythmic formula;
• fairly fast movement
• textural accompaniment formula: bass and two chords;
• a simple melody that often follows the sounds of a triad;
• flight performance;
• "flying" melodic line.

Waltz precursors

First of all, this is a landler. It is a three-part Austrian and German dance of leisurely movement.

Landlers are found in the works of Haydn, Mozart, Beethoven, Schubert. The melody in these dances is mostly simple. It moves in even eighth notes along the sounds of the triad.

Later, the Walzer appeared as a kind of Lendler. It means "circling" in German.

And the waltz itself appeared in the eighteenth century as a ballroom version of the walzer.

Classic. Music. Waltz

Many waltzes were written by Franz Schubert. They remind him of Landlers and Walzers. However, the composer also has graceful and light dances in the waltz genre. Franz Schubert also has a kind of "chains", which can include up to twenty small different waltzes.

In the 20s of the 19th century, the Viennese waltz appeared. It has a more streamlined shape. The number of "links" ranges from five. They all sound in the same tone. The music begins with an intro and ends with a coda. This form was invented by Josef Lanner and Johann Strauss. The son of I. Strauss uses his father's favorite five-part form, but his waltzes turn into extended musical poems.

Frederic Chopin's piano waltzes are lyrical miniatures that tell about the experiences of the human soul. In total, the composer has eighteen of them. Waltzes by Frederic Chopin are different in character. There are quiet and melodious ones, and there are brilliant and virtuoso ones. They are written in the form of a rondo.

Waltz types

1. Viennese waltz. To dance it correctly, you need to follow a strict and toned body. The beauty of this dance lies in the changing tempo and alternating left and right turns. Despite the speed of circling, the movements are performed smoothly.
2. Waltz Boston. It is which was finally formed in England. At the moment it is considered an independent dance. In the music of the English waltz, there is a change in the rhythm of the melody. Along with this, the movement of partners, the position in the pair, the technique of performance are changing. The movements in this dance are undulating, soft and sliding.
3. Tango waltz. It is also called Argentinean. It combines elements of tango and waltz. He dances in three quarters.

Thus, the waltz is a fairly fast movement. Its size is three quarters. Its characteristic features include: smoothness, "flight", grace, plasticity and lyricism. It has a typical rhythmic and textural formula. The melodic line is simple. Many composers turned to the waltz genre. These are Schubert, Strauss, Chopin, Glinka, Tchaikovsky, Shostakovich and many others.

Waltz is one of the most romantic and beloved dances, uniting generations and plunging us into a state of some euphoria. The waltz genre is so loved by many songwriters who have written their imperishable masterpieces that have not lost their popularity for many years - "May Waltz", "Victory Waltz", "Dombai Waltz" and many others.

The history of the origin of the dance

Waltz can not be attributed to the old dances. Compared to the allemande or chimes, the waltz is young. Its age is estimated at less than two centuries. But no one knows for sure the exact origin of this dance.

According to one version, the progenitor of the waltz was the German impetuous walzer. And another version says that the waltz came from the Lendler - a three-part dance of German and Austrian peasants, which was danced in pairs and always in a circle. Pretty simple dance, devoid of complex elements. However, it has all the signs of a future waltz - a partner touching a lady's waist, moving in a circle, kneeling a partner, as an indispensable element of a modern waltz.

The dance changed over time many times, acquiring the outlines of a waltz familiar to us, and reached the aristocracy. The waltz penetrated social balls and receptions, however, having undergone many negative responses. So, in 1816, the waltz was included in ballroom dancing at the court. After that, the dance was heavily criticized by religious leaders and confessors. They considered him “depraved”, “shameful”, devoid of chastity, violating the norms of morality and morality, because only courtesans could demonstrate such behavior in the dance. The dance was labeled "sinful", "vulgar" and "obscene", and decided that it was not worthy of decent society. This attitude to the waltz was observed throughout Europe. Especially in stiff England, where morals were even stricter.

But the waltz could not be completely strangled. The bourgeoisie enthusiastically accepted the German dance. It was distributed among the townspeople in secular dance parlors, although this caused resentment among moralists who compared the love of the waltz as an addiction.

Maybe the waltz would have remained a persecuted dance, if not for the work of Strauss, Lanner and other composers of the era of romanticism. The peak of their popularity came in the 30s of the 19th century. Ennobled music gave impetus to the development of waltz choreography, acquiring grace, lightness and beauty. By the end of the 19th century, the waltz had become a full-fledged dance at court balls. Its popularity was promoted by Queen Victoria, a passionate lover of ballroom dancing, especially the waltz.

Kinds

Waltz is a romantic, gentle and very diverse dance. The trials and modifications that the waltz has experienced during its existence have helped to give birth to the most diverse types of this wonderful dance. To date, there are a huge number of varieties of waltz, but the most common include:

viennese waltz

The dance is fast, impetuous, graceful, light.

Slow inals (waltz-boston or english waltz)

Elegant, restrained, requiring high discipline and good technique. Characterized by a change in pace, the presence of sustained pauses and fermat.

Tango waltz

A combined genre that combines elements of tango and waltz. It is also called the Argentine Waltz.

figured waltz

Waltz, which was included in the sports program of ballroom dancing back in the USSR in the 60s of the 20th century. It is characterized by the implementation of strict figures (elements).

Waltz Features

Waltz as an instrumental genre is very popular among classical composers. In addition to the aforementioned Strauss and Lanner, Chopin, Tchaikovsky, Prokofiev, Glinka often turned to the waltz genre. And largely thanks to them, the waltz is so popular and loved.

The modern waltz is multifaceted and full of varieties - slow and sedate, fast and impetuous. But all of them are united by one thing - a tripartite size with an emphasis on the strong beat. "One, two, three" - this is the pulsation of the waltz, its rhythmic structure. The waltz is always spinning. After all, even the word “waltz” itself comes from the German “walzen”, meaning “to rotate” or “circling”. Therefore, waltz music can always be distinguished by a feeling of light whirling, fast or slow.

But the waltz is performed mainly in a closed position, and the most popular figure in the waltz is considered to be a full turn in two measures with three steps in each.

| Slow Foxtrot | Quickstep

Waltz, history and character of Slow Waltz (Slow Waltz)

The waltz owes its birth to many dances of different peoples of Europe. Its roots are in the popular for its time dance “Mathenik” and its variety “Furiante”, performed at holidays in the Czech countryside, in the French dance “Volt” and, finally, in the Austrian “Lindler”, the closest to the waltz of its predecessors. The waltz was born and flourished at the beginning of the 19th century in Vienna, and then throughout the world. In different countries, this “king” of dances acquired certain national features. This is how the English waltz, the Hungarian waltz, the mazurka waltz, the figured waltz, etc. appeared. Perhaps, no dance can compete with it in such a long and constant popularity. As a result of the development of the musical form of the waltz at the beginning of the 20th century, new dances appeared in England in the 1920s: the Boston waltz and the slow waltz. waltz. They became the parents of the modern competitive slow waltz.

Waltz Year: 1923-1924

Waltz time signature: 3/4

Waltz tempo: 27-29 cycles per minute, slow

The birthplace of the waltz dance: England

Waltz score: "1", "2", "3"

Accents: at the expense of "2" the rise of the dancing couple is accentuated

Waltz character: a slow lyrical dance with a very characteristically pronounced and constantly repeating "surf wave" that creates the impression of flight and weightlessness. A special attraction and expressiveness can be given to him by the softer nature of the performance of the reductions. The management of the couple's partner is magically veiled, hidden.

History reference: Because Since the tempo of the Viennese Waltz was quite fast, composers soon began to write music that was much slower. From this music developed a new style of waltz called Boston, with slower turns, and a longer, gliding movement. Around 1874, in England, the very influential "Boston Club" was formed and a new style of dance began to appear, English, later called the Slow Waltz (Slow Waltz). However, it wasn't until after 1922 that this dance became as fashionable as the Tango. Strangely, what couples used to dance in the Boston Waltz is very different from what we do now. Immediately after the 1st World War, the Waltz is rapidly changing. The dance was composed at the beginning of 1919 as an independent dance, but all the principles of movement and especially the figures were used from the slow foxtrot. In 1921 it was decided that the basic movement should be: step, step, prefix. When Victor Sylvester won the championship in 1922, the English waltz program consisted of just a Right Turn, a Left Turn and a Change of Direction. In 1926/1927 the Waltz was significantly improved. The basic movement has been changed to: step, side step, prefix. As a result of this, more opportunities for the development of figures appeared. They have been standardized by the Imperial Society of Teachers of Dance (ISTD). Many of these figures we dance to this day.

Waltz

(French valse, from German Walzer, from walzen - twist your legs in a dance, spin; English waltz, Italian valzero) - a pair dance based on smooth whirling combined with forward movement; one of the most widespread household muses. genres, firmly established in prof. European music. countries. Muses. triple size (3/4, 3/8, 6/8). The pace is moderately fast.
Name "AT." appeared in the 70s. 18th century as a designation for peasant dance of some regions of the South. Germany and Austria (the same as Lendler, or "German dance").
With the penetration into the city (primarily in Vienna) dance. V.'s movements and music become smoother, the tempo becomes faster, a bright accent is determined on the 1st beat of the measure, rhythmic. formula

From the beginning 19th century V. - the most popular in all layers of Europe. dance society. The development of V. was especially intensive in Vienna. The heyday of Viennese waltz is associated with the work of J. Lanner, J. Strauss, the father, and later his sons Joseph and, in particular, Johann, nicknamed the "king of the waltz." I. Strauss-son developed the favorite waltz form of his father and Lanner, which usually consisted of 5 V. ("Walzerkette" - "waltz chain") with an introduction and coda, enriched V. from the side of rhythm, harmony, and instrumentation. The waltzes of I. Strauss are characterized by a slight shortening of the first beat during performance, a gradual acceleration of the tempo during the transition from the introduction to the actual V. The most famous of his waltzes are: "The Beautiful Blue Danube", "Tales of the Vienna Woods", "Spring Voices". In addition to Viennese V., dec. French options. V., consisting of three parts decomp. tempo and in time not only 3/4, but also 3/8, 6/8. Widely popular V. fr. composer E. Waldteuffel. In the 20th century a new species of V. appears - V.-Boston, who came to Europe from the North. America in the 20s (also called English V., slow V., see Boston).
Early dance, which differed little from the Lendler, or "German dance," found expression in the music of the Viennese classics (J. Haydn, W. A. ​​Mozart, and L. Beethoven). F. Schubert, who improvised his V. during dances, provided the first examples of poeticization of the genre, often turning V. into a lyric. miniature. The form of Schubert's v. - simple two-part or (rarely) three-part - is typical of early v. Such v. were often united in series, suites. Schubert's traditions in the field of Wales were continued by R. Schumann ("Butterflies" and "Carnival" for piano) and J. Brahms (16 waltzes for piano in 4 or 2 hands, op. 39, "Waltzes of Love" and "New waltzes of love" for vocal quartet, as well as for pianoforte in 4 hands).
The tendency to V.'s transformation into a large conc. instr. a work already noticeable in the waltzes of I. N. Hummel ("Dances for the Hall of Apollo" - "Tänze für die Apollosale" for piano - with a trio, reprise and coda, op. 31, 1808), for the first time finds full expression in the "Invitation to dance" ("Aufforderung zum Tanz") by K. M. Weber (1819). Overcoming suiteness, Weber, on the basis of V., creates a detailed play with an introduction and coda, imbued with a single poetic. idea. This trend was also reflected in the Viennese waltzes by I. Strauss-son. Waltzes by F. Chopin, F. Liszt are approaching the romantic genres of poetry. music, combining lyrical and poetic. expressiveness with elegance and brilliance, sometimes virtuosity.
V. gets into many types instr. and wok. music. In the symphony, he sometimes takes the place of the minuet ("Fantastic Symphony" by Berlioz, Tchaikovsky's 5th symphony). In the opera, in addition to mass dance scenes ("Faust", "Eugene Onegin"), V. is used as the basis for solo woks. episodes ("Romeo and Juliet" by Gounod, "La Traviata" by Verdi, "La Boheme" by Puccini, etc.). V. is widely used in ballets (L. Delibes, P. I. Tchaikovsky), in operetta, especially Viennese (I. Strauss-son), and later in music for films.
The characteristic features of V. - lyricism, grace, plasticity, in combination with a typical rhythmic formula, are found in many themes in the works of composers of the 19th century. (F. Chopin, I. Brahms, G. Verdi, P. I. Tchaikovsky and others). Such themes allow us to talk about waltz as their genre feature.
Genre V. has been developed in many ways. nat. music schools (waltzes by E. Grieg for piano, "Sad Waltz" - "Valse triste" by J. Sibelius, etc.); it acquired special significance in Russian. music - from early experiences of amateur and everyday music-making (A. S. Griboedov's waltz for piano, Russian everyday romance) to classical. samples of poetically enriched symphony. and concert V. (M. I. Glinka, P. I. Tchaikovsky, A. K. Glazunov, A. N. Skryabin, S. V. Rachmaninov).
In symph. In the work of P. I. Tchaikovsky, V. serves as a generalized poetic expression of ideas about beauty and the value of life. This tradition develops in the waltzes of S. S. Prokofiev (V. Pushkin, the opera War and Peace, the ballet Cinderella, etc.).
In the music of the 20th century the V. genre is sometimes used to recreate the atmosphere of the past - with a touch of idyll, admiration, or in a humorous, ironic, grotesque refraction (G. Mahler). R. Strauss (opera "Der Rosenkavalier"), M. Ravel (choreography, poem "Waltz", which is an example of dramatization of the genre) return to the type of Strauss waltzes. I. F. Stravinsky (Petrushka, The Story of a Soldier), A. Berg (Wozzeck), D. D. Shostakovich (Katerina Izmailova),
Literature: Druskin M., Essays on the history of dance music, L., 1936; Ivanovsky N.P., Ballroom dance of the 16th - 19th centuries, L.-M., 1948; Bee O., Der Tanz, B., 1906; Weig1 B., Die Geschichte des Walzers nebst einem Anhang ber die moderne Operette, Langensalza, 1910; Mendelssohn J., Zur Entwicklung des Walzers, "StMw", Jg XIII, 1926; Sachs C., Eine Weltgeschichte des Tanzes, B., 1933; Carner M., The waltz, L., 1948; Nick Ed., Vom Wiener Walzer zur Wiener Operette, Hamb., (1954). E. M. Tsareva.

Musical encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu. V. Keldysha. 1973-1982 .

See what "Waltz" is in other dictionaries:

waltz- waltz, and ... Russian spelling dictionary

waltz- waltz / ... Morphemic spelling dictionary

BUT; m. [French. valse] 1. Pair ballroom dance, characterized by a three-beat rhythm and consisting in the progressive movement of smoothly circling couples; the music of this dance. Dance, perform. Spin in the whirlwind of the waltz. Wedding c. Waltz Boston. 2.… … encyclopedic Dictionary

- (French valse, from German Walzer). The type of dance and the music written for this dance is slow (old) and fast, Viennese. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. WALTZ German dance, with a very accelerated ... ... Dictionary of foreign words of the Russian language

waltz- valse f. , German walzer. 1. Pair dance in triple size. Sl. 18. They danced and quadrilles, and ecossaises, and rolls are not needed, as: in the village and in Little Russia it is not possible to demand Parisian or Moscow marshmallows. ММ 4 29. In a foreign language, we are in waltzes ... ...

Waltz, waltz Dictionary of Russian synonyms. waltz n., number of synonyms: 6 boston (6) in ... Synonym dictionary

- (French valse, German Walzer, from walzen to whirl in the dance), 3 double ballroom dance. Late 18th century Austrian and South German peasant dance (see Lendler). Since the beginning of the 19th century, one of the most popular in Europe. The largest ... ... Modern Encyclopedia

Waltz, waltz, husband. (French valse). 1. Dance with a three-beat rhythm, consisting in a smooth progressive whirl. “Everyone waltzes around with the greatest zeal.” Griboyedov. 2. Music for this dance. || A kind of musical work with a triplet ... ... Explanatory Dictionary of Ushakov

Fleury waltz- * valse fleurie. Blooming waltz. Waltz of flowers, with flowers. I start the rehearsal with valse fleurie from the Magic Mirror. M. Petipa 83 … Historical Dictionary of Gallicisms of the Russian Language