Detail fromfrontispiece to Thomas Wilson Correct Method of German and French Waltzing (1816), showing nine positions of the waltz, clockwise from the left (the musicians are at far left). At that time, the waltz was a relatively new dance in England, and the fact that it was a couples dance (as opposed to the traditional group dances), and that the gentleman clasped his arm around the lady's waist, gave it a dubious moral status.
There are many references to a sliding or gliding dance, includingvolte, that would evolve into the waltz that date from 16th-century Europe, including the representations of theprintmakerHans Sebald Beham. The French philosopherMichel de Montaigne wrote of a dance he saw in 1580 inAugsburg, where the dancers held each other so closely that their faces touched. Kunz Haas (of approximately the same period) wrote, "Now they are dancing the godlessWeller orSpinner."[3] "The vigorous peasant dancer, following an instinctive knowledge of the weight of fall, uses his surplus energy to press all his strength into the proper beat of the bar, thus intensifying his personal enjoyment in dancing."[3] Around 1750, the lower classes in the regions ofBavaria,Tyrol, andStyria began dancing a couples dance calledWalzer.[4] TheLändler, also known as theSchleifer, a country dance in3 4 time, was popular inBohemia,Austria, and Bavaria, and spread from the countryside to the suburbs of the city. While the eighteenth-century upper classes continued to dance theminuets (such as those byMozart,Haydn andHandel), bored noblemen slipped away to the balls of their servants.[5]
In the 1771 German novelGeschichte des Fräuleins von Sternheim bySophie 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."[6]
Describing life inVienna (dated at either 1776 or 1786[7]), 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 1786 operaUna Cosa Rara byMartin y Soler. Soler's waltz was markedandante con moto, or "at a walking pace with motion", but the flow of the dance was sped-up in Vienna leading to theGeschwindwalzer, and theGalloppwalzer.[8][9]
In the 19th century, the word primarily indicated that the dance was a turning one; one would "waltz" in thepolka to indicate rotating rather than going straight forward without turning.
Shocking many when it was first introduced,[10] the waltz became fashionable inVienna around the 1780s, spreading to many other countries in the years to follow. According to contemporary singer Michael Kelly, it reached England in 1791.[11] During theNapoleonic Wars, infantry soldiers of theKing's German Legion introduced the dance to the people of Bexhill, Sussex, from 1804.[12]
It became fashionable inBritain during theRegency period, having been made respectable by the endorsement ofDorothea Lieven, wife of the Russian ambassador.[13] DiaristThomas Raikes later recounted that "No event ever produced so great a sensation in English society as the introduction of the waltz in 1813."[14] In the same year, a sardonic tribute to the dance by Lord Byron was anonymously published (written the previous autumn).[15][16] Influential dance master and author of instruction manuals, Thomas Wilson publishedA Description of the Correct Method of Waltzing in 1816.[17]Almack's, the most exclusive club in London, permitted the waltz, though the entry in theOxford English Dictionary shows that it was considered "riotous and indecent" as late as 1825. InThe Tenant of Wildfell Hall, byAnne Brontë, in a scene set in 1827, the local vicar Reverend Milward tolerates quadrilles and country dances but intervenes decisively when a waltz is called for, declaring "No, no, I don't allow that! Come, it's time to be going home."[18]
The waltz, 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.
In the 19th and early 20th century, numerous different waltz forms existed, including versions performed in3 4,3 8 or6 8 (sauteuse), and5 4 time (5 4 waltz, half and half).
In the 1910s, a form called the Hesitation Waltz was introduced byVernon and Irene Castle.[20] It incorporated "hesitations" and was danced to fast music. A hesitation is basically a halt on the standing foot during the full waltz bar, with the moving foot suspended in the air or slowly dragged. Similar figures (Hesitation Change,Drag Hesitation, andCross Hesitation) are incorporated in theInternational 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 thepromenade position, depending on local preferences. Within Country Western waltz, there is 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.[21]
In California, the waltz was banned by Mission priests until 1834 because of the "closed" dance position.[22] 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.[22] "Valse a Trois Temps" was the "earliest" waltz step, and the Rye Waltz was preferred as a couple dance.[23]
Intraditional Irish music, the waltz was taught by travelling dancing masters to those who could afford their lessons during the 19th century. By the end of that century, the dance spread to the middle and lower classes of Irish society and traditional triple-tune tunes and songs were altered to fit the waltz rhythm. During the 20th century, the waltz found a distinctively Irish playing style in the hands ofCéilidh musicians atdances.[25][26]
TheAmerican Style Waltz, part of theAmerican Smooth ballroom dance syllabus, in contrast to theInternational 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 anopen 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 byFred Astaire.[citation needed]
TheMexican Waltz (vals mexicano) follows the same basic rhythmic pattern as the standard waltz, but the melodies reflect a strong Spanish influence. Mexico'sJuventino Rosas wrote "Sobre las Olas" or "Over the Waves".
TheCajun Waltz is danced progressively around the floor, and is characterised by the subtle swaying of the hips and step very close to ordinary walking. It is danced entirely in the closed position.[citation needed]
The Cuban (or Tropical) Waltz follows the pattern of the standard waltz throughout the song.[citation needed]
The Contra Waltz (Freeform Waltz), included in mostcontra dance evenings, uses both open and closed positions, and incorporates moves from other dances such asswing,modern jive andsalsa. Basically the dancers progress around the dance floor with a waltz step, but with no constraints on what moves they can use.[citation needed]
Thecross-step waltz (French Valse Boston) developed in France in the early 20th century and is popular in social waltz groups today.[citation needed]
In folk dance from theAlsace region, waltzes in odd metres such as5 4,8 4 and11 4 are found. In modernbal folk, waltzes in even higher metres are played and danced.
Sama'i (also known as usul semai) is a vocal piece of Ottoman Turkish music composed in6 8 metres. This form and metre (usul in Turkish) is often confused with the completely different Saz Semaisi, an instrumental form consisting of three to four sections, in 10/8 metre, or usul aksak semai (broken semai in Turkish). Semai is one of the most important forms in Ottoman Turkish Sufi music.[28][29]
TheTsamikos (Greek:Τσάμικος,Tsamikos) orKleftikos (Greek:Κλέφτικος) is a popular traditionalfolk dance ofGreece, done to music of3 4 metre.[30]
^Sir George Grove, John Alexander Fuller-Maitland, Adela Harriet Sophia (Bagot) Wodehouse.A Dictionary of Music and Musicians (A.D. 1450–1880) Published 1889. Macmillan
^The History of Lady Sophia Sternheim, trans. Christa Baguss Britt (State University of New York Press, 1991), p. 160.
^Jacob, H.E. (2005).Johann Strauss: Father and Son a Century of Light Music. pp. 24–25.ISBN1-4179-9311-1.
^Childers, William (1969). "Byron's "Waltz": The Germans and Their Georges".Keats-Shelley Journal.18. Keats-Shelley Association of America, Inc.:81–95.JSTOR30212687.
^Fullerton, Susannah (2012).A dance with Jane Austen: how a novelist and her characters went to the ball (1st Frances Lincoln ed.). London, England: Frances Lincoln Ltd. pp. 110–111.ISBN978-0-7112-3245-7.
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