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Waltz in Russian culture

“I remember the waltz’s lovely sound” - with these words, in the minds of a Russian person, regardless of his age, as well as educational and cultural level, a certain generalized image arises, which can be conditionally called the “Russian waltz”. Moreover, this very “Russian waltz” is not at all a Viennese waltz in the style of the Strauss father and son, not a Parisian one - with the constant accordion and cracked baritone of French chansonniers, and not the exquisite waltz of Chopin. “Russian Waltz” is a completely different phenomenon, in many ways even more literary than musical.

Romance “I remember the lovely sound of the waltz” performed by Elena Obraztsova

Well-mannered obscenity

The ability to dance the waltz today seems to be a sign of aristocracy, but just two centuries ago this dance was considered completely indecent. In Russia, the waltz was strictly prohibited, which was confirmed by the order of Paul I to the military governor of St. Petersburg Alexei Arakcheev on December 1, 1797. Along with the waltz, the emperor also prohibited other “indecent phenomena”: wearing sideburns, tailcoats and “boots, called boots.” In prim Britain until the mid-19th century, dances in which partners came very close to each other were condemned by both the official press and the clergy. So even Queen Victoria, who was reigning at that time, did not advertise that she actually loved to waltz. In 1834, the waltz was danced publicly for the first time in the United States, in Boston, and outraged public figures called the dance "indecent and violative of all decency".

The waltz was mentioned in many literary works of the 19th century: in “Eugene Onegin” by Alexander Pushkin, in “Masquerade” by Mikhail Lermontov. In "War and Peace" by Leo Tolstoy “distinct, careful and fascinatingly measured sounds of the waltz” sounded during Natasha Rostova's first ball - in the presence of the Emperor! By 1869, when Tolstoy finished the novel, aristocrats had become somewhat accustomed to the waltz and began to treat it more tolerantly. A great contribution to the popularization of this dance was made by Johann Strauss the Younger, who for five seasons - from 1856 to 1861 - conducted, at the Imperial invitation, concerts and balls at the station of the city of Pavlovsk near St. Petersburg and often gave waltzes. It is interesting that the brilliant and carefree waltzes of Strauss, despite the fact that many of them were written in Russia, in spirit have nothing to do with truly Russian waltzes.

Johann Strauss. Waltz "On the Beautiful Blue Danube"

The first Russian waltzes

The history of the Russian waltz began with Alexander Griboedov, a brilliant diplomat and author of the classic comedy Woe from Wit. Griboedov also wrote music, and one of his most famous works was Waltz No. 2 in E minor, composed by the writer in 1824 - simple, but soulful and soulful.

Alexander Griboyedov. Waltz No. 2 in E minor

The first "real" Russian waltz was the Waltz-Fantasy by Mikhail Glinka (piano version from 1839). It was he who became the model for most domestic “literary” waltzes.

Mikhail Glinka. Waltz Fantasy (orchestral version)

Surprisingly similar to Waltz-Fantasy in its nostalgic character and minor mood are Aram Khachaturian’s waltz from the music for Lermontov’s drama “Masquerade”, and Georgy Sviridov’s waltz from musical illustrations for Pushkin’s story “The Snowstorm”, and Sergei Prokofiev’s waltz from the opera “War and Peace” - and many other waltzes from film adaptations and productions of Russian classics.

Sergei Prokofiev. Pushkin Waltz No. 2

The only thing that stands apart in this row is Pyotr Tchaikovsky’s Waltz from the opera “Eugene Onegin” - luxurious, joyful, brilliant. But for Tchaikovsky, the waltz was much more than just a dance form - one of his favorite genres, in which the composer most often expressed his innermost feelings.

Pyotr Tchaikovsky. Waltz from the opera "Eugene Onegin"

Memories of a Waltz

The so-called “ancient Russian waltzes”, widely published in Soviet times - in fact, written mainly at the turn of the 19th and 20th centuries - also contribute to a nostalgic-literary attitude towards the waltz. These include “Amur Waves” (1903) by the Russified German Max Kuess, “Above the Waves” (1884) by the Mexican Juventin Rosas, the famous “Autumn Dream” (1908) by the Englishman Archibald Joyce, which later became the “character” of the famous song by Matvey Blanter “In forest near the front" (1943), and many others.

Max Kyuss. Waltz "Amur Waves"

Matvey Blanter. "In the forest near the front"

In the first decades of Soviet power, 1920–30s, the waltz took a strong position on the “ideologically correct” dance floor as “our answer” to American jazz, which was actively conquering the world at that time. Moreover, for many Soviet people (including professional musicians), the word “jazz” itself meant all the music that was played at dances, so the waltz was invariably included in the repertoire of pop-jazz orchestras. It is interesting that the composers who composed music for these orchestras, of all the varieties of waltz, took as a basis the minor-lyrical, Russian version, completely in the spirit of those very “old waltzes”.

Dmitry Shostakovich. Waltz from Jazz Suite No. 2

The waltz has been part of the culture of Russian officers for more than a century; the ability to dance the waltz is still taught at the Suvorov and Nakhimov schools. And during the Great Patriotic War, the waltz, along with the tango, became one of the iconic dances of the short periods of calm between battles. New waltzes, performed with words like songs, but written in the same slightly sad, nostalgic key, gained popularity - “The Blue Handkerchief” (1940) by Jerzy Petersburg, “Ogonyok” (1943) by Matvey Blanter and others.

Jerzy Petersburg. “Blue Handkerchief” performed by Klavdiya Shulzhenko

Waltz is alive

Nowadays, those who seriously engage in ballroom dancing, for whom the waltz is a hobby or even part of a profession, have a slightly different attitude towards the waltz. After all, this dance, despite the nostalgic flair, is included in the modern program of sports dance competitions. The literary and general cultural component for sports dancers, as a rule, is not as important as the number of bars or the tempo and genre of the waltz being performed - slow, derived from the ancient Boston waltz, and fast, also called Viennese.

Mass dance competitions. Viennese Waltz

Dance teachers of the early 19th century were at one time very dissatisfied with the appearance and rapid spread of the waltz, since, unlike the many diverse and rather intricate dances that existed in that era, it was possible to master the waltz movements in just a couple of lessons. I wonder what they would say about modern discos, where there are only two dances left (slow and fast) and you can dance them without any rules at all.

Waltz (waltz) is a dance that is loved and known by everyone all over the world. It is danced with pleasure everywhere: at the famous Viennese balls, at receptions, weddings, proms, clubs. It’s not for nothing that he is called the “king” of dancing. This is a romantic, gentle and magical dance.

When and where did Waltz first appear?

The waltz is quite young and cannot be classified as an ancient dance. Its age is estimated at just over two centuries. But the exact date of its origin is not known for certain.

There are several versions of the origin of this dance and they all date back to the middle of the 18th century. According to one version, it is believed that the waltz originated from the German fast dance “Walzer”, where couples twirled, tightly hugging each other. According to another version, it originated from the Austrian dance “Ländler”, in which couples moved leisurely one after another in a circle.

There is another version of the origin of the dance - this is the French folk dance “volt”. The name of this dance comes from the Italian word “voltare” - to turn. It was danced in pairs with obligatory turns of one dancer around the other.

The very name of the Waltz dance is supposed to come from the German word “ walzen”, which means to spin. And, indeed, the waltz always turns.

Modern waltz

Modern waltz is a multifaceted dance and there are a huge number of its varieties:

• waltz minion
• Waltz-Mazurka
• English
• Hungarian
• Viennese
• Waltz-Boston
• figure waltz
• tango waltz

But the most common ones, which are performed at all competitions, include two types:

1. Slow waltz it is also the Boston waltz or the English waltz, the performance of which requires special discipline and high-level technique, despite its elegance and romance. The couple's movements should be soft and sliding. The musical time signature of this dance is 3/4 with an emphasis on each beat. The tempo is 28-31 beats per minute. Must be executed in a closed position.
2. Viennese Waltz (fast waltz). Performing this dance requires complete mutual understanding from the couple. Despite the speed of the dance, the movements must be performed with grace and smoothness. The body must always be strictly tightened. The Viennese waltz is performed in 3/4 time signature with an emphasis on the downbeat. The tempo is 58-64 beats per minute with an emphasis on the first count. Like all dances of the European program, it is danced in a closed position.

In the 30s of the 19th century, the development of the Viennese Waltz was facilitated by the great Austrian composers of that time - Franz Lanner, Johann Strauss the Father and the no less famous composer Johann Strauss the Son, who wrote such popular and world-famous works as “The Blue Danube” and "Tales of the Vienna Woods." The Viennese waltz in the 19th century eclipsed all others and became official and remains so to this day.

And in conclusion, I, of course, would like to say about at what age you can and should learn this magical dance.

If you are over 4 and not much older than 120, then it’s time for you to start learning the Waltz

Learning Waltz does not require special physical training and is suitable for people of any age and any body type.

Dear men, be sure to learn to dance the Waltz! And once you invite your chosen one to this magical dance, you will truly look in the eyes of your queen not only as a king, but also as a romantic, which certainly cannot leave her heart indifferent.

Waltz is a wonderful dance that has inspired many poets to write heartfelt lines.

Dance was always present 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 have remained forever in their era. Others have successfully reached our time. Waltz is one of the dances that has not lost its popularity to this day.

The birth of the waltz

This extremely fascinating and always youthful dance has been alive for two centuries and is incredibly popular. In Austria, Germany and the Czech Republic, at various holidays, peasants merrily circled in pairs. Walzen means "to roll" in German. This is where the name of the dance comes from. The “stomping” and “bouncing” characteristic of folk dance gradually disappeared.

Waltz is one of the dances that rapidly spread across different countries at the turn of the 18th and 19th centuries.

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 this, the waltz acquired a special softness of its outline. The music of Frederic Chopin is filled with wide melodic chanting. 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.

Characteristics of the waltz

• three-beat waltz time signature;
• lyricism;
• plastic;
• grace;
• typical rhythmic formula;
• quite fast movement;
• textured accompaniment formula: bass and two chords;
• a simple melody that often follows the sounds of a triad;
• flightability;
• "soaring" melodic line.

Predecessors of the waltz

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

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

Later the Walzer appeared as a type of Ländler. Translated from German, it means “whirling.”

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

Classic. Music. Waltz

Franz Schubert wrote many waltzes. They resemble Landlers and Walzers. However, the composer also has graceful and light dances in the waltz genre. Franz Schubert also has peculiar “chains”, which can include up to twenty small different waltzes.

In the 20s of the 19th century, the Viennese waltz appeared. It already has a more ordered form. The number of “links” fluctuates within five. They all sound in the same key. The music begins with an introduction and ends with a coda. This form was invented by Joseph Lanner and Johann Strauss. The son of J. Strauss uses the five-part form favored by his father, 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. The composer has eighteen of them in total. Frederic Chopin's waltzes are different in character. There are quiet and melodious ones, and there are brilliant and virtuosic ones. They are written in the form of a rondo.

Types of waltz

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

Thus, a 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

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

From the beginning 19th century V. is the most popular in all segments of Europe. society dance. The development of V. took place especially intensively in Vienna. The flourishing of Viennese V. is associated with the work of J. Lanner, J. Strauss the father, and later his sons Joseph and especially Johann, nicknamed the “King of the Waltz.” I. Strauss the 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. in terms of rhythm, harmony, and instrumentation. The waltzes of J. 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 V. The most famous are his V.: “The Beautiful Blue Danube”, “Tales of the Vienna Woods”, “Voices of Spring”. In addition to Viennese V., various types were common. French options V., consisting of three parts divided. tempo and in size not only 3/4, but also 3/8, 6/8. Widely popular are V. French. composer E. Waldteifel. In the 20th century a new species of V. appears - V.-Boston, which came to Europe from the North. America in the 20s. (also called English V., slow V., see Boston).
Early V., which differed little from Ländler, or “German dance,” found its implementation in the music of the Viennese classics (J. Haydn, W. A. ​​Mozart, L. Beethoven). F. Schubert, who improvised his V. during dances, gave the first examples of poeticization of the genre, often turning V. into lyrical poetry. miniature. The form of Schubert's V. - a simple two-part or (less often) three-part - is typical of early V. Such V. were often combined into series, suites. Schubert's traditions in the field of music 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 for V. to transform into large conc. instr. a work noticeable already in the waltzes of I. N. Hummel ("Dances for the Hall of Apollo" - "Tänze für die Apollosale" for fn. - with trio, reprise and coda, op. 31, 1808), for the first time finds full expression in "Invitation to dance" ("Aufforderung zum Tanz") by K. M. Weber (1819). Overcoming suiteness, Weber, based on V., creates an expanded play with an introduction and coda, imbued with a single poetic feeling. idea. This tendency was reflected in the Viennese waltzes of J. Strauss the Son. Waltzes by F. Chopin and F. Liszt approach the romantic poetic genres. music, combining lyrical and poetic. expressiveness with elegance and brilliance, sometimes virtuosity.
V. penetrates into many types of instruments. and wok. music. In a symphony it sometimes takes the place of a minuet (Berlioz's Symphony Fantastique, Tchaikovsky's 5th Symphony). In opera, in addition to mass dance scenes (Faust, Eugene Onegin), V. is used as the basis for solo vocals. episodes ("Romeo and Juliet" by Gounod, "La Traviata" by Verdi, "La Bohème" by Puccini, etc.). V. is widely used in ballets (L. Delibes, P. I. Tchaikovsky), in operetta, especially Viennese (I. Strauss the Son), and later in film music.
The characteristic features of V. - lyricism, grace, plasticity, combined with a typical rhythmic formula - are found in many themes in the works of 19th-century composers. (F. Chopin, I. Brahms, G. Verdi, P. I. Tchaikovsky, etc.). Such themes allow us to talk about waltzing as their genre feature.
The V. genre has been developed in many ways. national 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 (waltz by A. S. Griboedov 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. Scriabin, S. V. Rachmaninov).
In the symphony In the works 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's, the opera War and Peace, the ballet Cinderella, etc.).
In 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") and 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") resort to parodic use of V.
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; Bie O., Der Tanz, V., 1906; Weig1 V., Die Geschichte des Walzers nebst einem Anhang ьber die moderne Operette, Langensalza, 1910; Mendelssohn J., Zur Entwicklung des Walzers, "StMw", Jg XIII, 1926; Sachs C., Eine Weltgeschichte des Tanzes, V., 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. Keldysh. 1973-1982 .

Synonyms:

See what “Waltz” is in other dictionaries:

waltz- waltz, and... Russian spelling dictionary

waltz- waltz/... Morphemic-spelling dictionary

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

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

waltz- valse f. , German Walzer. 1. Pair dance in three-beat size. Sl. 18. They danced quadrilles, and eco-saises, and there was no need for rollers, like: in the villages and in Little Russia you can’t demand Parisian or Moscow zephyrs. MM 4 29. In foreign language we are in waltzes... ...

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

- (French valse, German Walzer, from walzen to whirl in a dance), 3-beat paired ballroom dance. Late 18th century Austrian and South German peasant dance (see Ländler). 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 of a smooth forward circling. “Everyone spins in the waltz with the greatest zeal.” Griboyedov. 2. Music for this dance. || A type of musical work with a three-beat... ... Ushakov's Explanatory Dictionary

waltz fleury- * valse fleurie. Blooming Waltz. Waltz of the 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

The history of the waltz goes back a little over two hundred years. By contemporary standards, this is a very young and youthful dance, which is fully reflected in its character, impetuous, light and cheerful. But he attracts the eye not only with his energy. The waltz is literally imbued with romance, which is felt in every movement of the dancers. It is not for nothing that it is the main dance at a wedding. To earn such a “status”, this dance style had to go through a lot. We invite you to find out what exactly.

Read the history of the waltz and many interesting facts about this dance on our page.

The name of the dance comes from the German word “walzer”, which means to whirl or spin. The basis of the waltz is precisely the smooth, continuous whirling of the couple with simultaneous movement around the hall. Usually, beginning dancers are asked to mentally imagine a large square along which they will have to waltz. But this is not the only feature of the dance.

The classic waltz is characterized by:

fast and rhythmic structure. "One two Three. One, two, three” - this is how the rhythm of waltz steps beats out;

three-beat musical time signature. This means that each measure includes three beats on which movements are made;

the dance is performed in a closed position, with partners facing each other. In this case, the woman is positioned slightly to the right;

one hand of the man is on the waist of his partner. She, in turn, puts her hand on his shoulder. With their free hands, the dancers close the figure to perform the waltz;

lightness, airiness and grace in every movement.

Waltz belongs to ballroom dancing, that is, it is performed by two people - a man and a woman. If earlier it was danced at balls, now at special events and competitions. The European program of sports ballroom dancing necessarily includes slow and Viennese waltzes.

Popular waltzes

Fryderyk Chopin "Waltz No. 10". This is a real confession of a young and talented composer. The melody was written by him at the beginning of his creative career, when he met Konstantia Gladkovskaya. The nineteen-year-old boy for a long time did not dare to approach and meet the charming person, so music became his salvation from the excess of overwhelming feelings.

Fryderyk Chopin “Waltz No. 10” (listen)

P.I. Tchaikovsky "Waltz of the Flowers"(ballet " Nutcracker "). This composition, written in waltz rhythms, is rightfully considered the author’s most famous work. It is known even to those who have never been to a ballet - a touching, gentle melody sounds in the Soviet cartoon “The Nutcracker”.

P.I. Tchaikovsky “Waltz of the Flowers” ​​(listen)

E.D. Doga "Wedding Waltz"(from the movie “My Affectionate and Gentle Beast”). It took just one summer night for Evgeny Dmitrievich to write a waltz composition of mesmerizing beauty. It combines romance and tragedy - the two main feelings that accompanied the heroine of the film, Olga Skvortsova. The melody is still considered the most famous among the film waltzes written by Soviet composers. It is often chosen as the first dance of newlyweds.

E.D. Doga “Wedding Waltz” (listen)

AND ABOUT. Dunaevsky "School Waltz". It was this melody that symbolized the end of school for Soviet schoolchildren. The song was written in 1950. The composer was inspired to write it by a letter from a Voronezh school graduate. She and her classmates could not write a song that would express words of gratitude to their teacher. Isaac Osipovich could not either. Instead, he wrote “School Waltz”, which was played in every school, and not just in one Voronezh.

AND ABOUT. Dunaevsky “School Waltz” (listen)

The history of the waltz or “O times! Oh morals!

This expression, uttered by the ancient Roman thinker Marcus Tullius Cicero, perfectly describes the moment of the birth and development of the waltz. Aristocrats and church leaders considered it indecent and shameful. The prim English were especially indignant. How is it possible to hug a young lady around the waist in front of everyone! Therefore, for almost the entire 19th century, the waltz was banned at European balls. Even Catherine II did not recognize him.

The opinion of the higher ranks cared little about the common people, among whom the waltz arose. Auerbach Lev Davydovich, a Soviet musicologist, dates his birth to the 70s of the 18th century. At the same time, it is impossible to name the only country guilty of “corrupting” society. The origins of the waltz can be traced to at least three national dances:

Czech furiant - a real performance where a proud young man pulls a girl to him by the waist and begins to dance with her to cheerful songs;

French Volta is a pair dance characterized by various turns;

The Austrian Ländler was originally a matchmaking ritual, but later turned into a fast dance, where the young man spun the girl he liked around him.

It turns out that the waltz owes its appearance to many dances. However, Austria is considered to be its capital due to the greater similarity of the dance steps to the Ländler.

It is noteworthy that the furiant, the volta, and the ländler are folk dances. That is, they were danced in hamlets and villages at various holidays. How did they get to the imperial court? Its spread among the upper echelons of society was helped by the Archduchess of Austria Maria Theresa. She liked the landler so much that she decided to move him to the luxurious halls of her palace. Thus, the founder of the waltz found himself in the center of attention of European nobles. High society morals began to be replaced by simplicity of movements and freedom of expression of feelings. Gradually the dance changed, turning into the version that people still talk about today.

Time restrictions, a complete ban, all kinds of persecution - all this happened in the history of the waltz. While secular society criticized the waltz, it was enjoyed by the French bourgeoisie and other segments of the European population who were far from the whims of the aristocrats. Even the Americans managed to adopt it.

At the same time, dance had a strong influence on the development of various musical genres: opera , ballet , suite. Beautiful and magnificent melodies were composed especially for waltzing couples, which became world classics.

The waltz gained complete freedom in 1888 thanks to Wilhelm II, the last German emperor. Now lovers could enjoy their favorite dance without a shadow of embarrassment and endlessly spin around the magnificent halls.

Currently, interest in the waltz is not as bright as in the old days. This dance is of more interest to professional dancers and real aesthetes. Schools and separate studios are being created where anyone can learn how to perform waltzing movements. Pas are used in concert and competitive activities of dance groups. At the same time, many dance teachers love the waltz for its compatibility with other genres - the result is a beautiful performance where history is intertwined with modernity.

Interesting Facts

Waltz literally tied the knot between Lev Nikolayevich Tolstoy and Sofya Andreevna Bers. The fact is that the count still could not decide to propose to his beloved. Languishing in indecision in Sofia Andreevna’s house, he made a wish: if her younger sister Tatyana sang the top note well in Arditi’s waltz “Kiss,” he would immediately propose. Tanya did not disappoint - after 5 minutes Sonya became the bride of the great writer.

During the Great Patriotic War, composers did not forget about waltzes, setting touching music to poetry by poets. “In the forest near the front” by M. Blanter, “Song about a flashlight” by D. Shostakovich, “In the dugout” by K. Listov are some examples of compositions written in this genre to raise morale.

The English poet George Byron spoke ironically about the waltz at the beginning of the 19th century. He even composed a poem of the same name, where he ridiculed fashion trends.

Writing waltzes under the influence of sensory experience, love and tenderness was in the spirit of Fryderyk Chopin. On his creative path he met several charming muses: Konstancia Gladkowska, Delfina Potocka and Maria Wodzinska.

The play “Dog Waltz,” known to many, has nothing in common with the genre stated in the title. The composition is more similar in size to a polka.