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Viennese waltz (German: Wiener Walzer) is a genre of ballroom dance. At least four different meanings are recognized. In the historically first sense, the name may refer to several versions of the waltz, including the earliest waltzes done in ballroom dancing, danced to the music of Viennese waltz.
Balanchine had been exposed to Viennese dancing since his youth, and had used the 3 4 time signature, which is commonly used in waltz, in some of his works, including Les Valses de Beethoven (1933), The Bat (1936), Waltz Academy (1944), La Valse (1951), Valse Fantaisie (1953), Liebeslieder Walzer (1960) and Trois Valses Romantiques (1967). [1]
The waltz opens with rhythmic refrains taken from the trio in Ziehrer's polka Schneidig!, op. 387. The waltz is given its title from the original refrain of Girardi’s song Für Herz und Seel’ ist Ruh’ nur g’sund, ich lach (' For heart and soul rest is wholesome - I laugh ').
The waltz (from German Walzer [ˈvalt͡sɐ̯]), meaning "to roll or revolve") [1] is a ballroom and folk dance, in triple (3 4 time), performed primarily in closed position. Along with the ländler and allemande, the waltz was sometimes referred to by the generic term German Dance in publications during the late 18th and early 19th centuries. [2]
Dorfschwalben aus Österreich (Village Swallows from Austria), Op. 164, is a Viennese waltz composed by Josef Strauss in 1864 or 1865. [1] It was inspired by August Silberstein's novel Dorfschwalben aus Österreich. It was premiered at the Volksgarten, Vienna, on September 6, 1864 (1865?). The polka-mazurka "Frauenherz" was premiered at the ...
Wein, Weib und Gesang (Wine, Woman, and Song), Op. 333, is a Viennese waltz by Johann Strauss II. It is a choral waltz in its original form, [ 1 ] although it is seldom heard in this version today. It was commissioned for the Vienna Men's Choral Association 's so-called Fools' Evening on 2 February 1869 with a dedication to the Association's ...
Waltz 5B contains the customary climax with cymbals and is loudly played. After a brief and tense coda, waltz 1A and 2B make a reappearance. As the waltz approaches its end, the zither solo makes another appearance, reprising its earlier melody in the introduction. A crescendo in the final bars concludes with a brass flourish and snare drumroll.
The first waltz theme is a familiar gently rising triad motif played by cellos and horns in the tonic (D major), accompanied by the harp; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.