Music Appreciation

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• Music Appreciation

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19th Century Dance

• During the 19th and 20th centuries, a period of
  extensive industrialization and development of
  leisure interests,
• dancing became a recognized pastime of the public
  at large
• regular dance orchestras were no longer the
  prerogative of royal courts or the aristocracy
  but were able to maintain an independent
  existence,
• directing dance bands and composing and arranging
  for them became a full-time activity very much in
  the public eye, its leading exponents enjoying
  international fame. In addition dance music
  increasingly came to be listened to as well as
  danced to.

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Waltz, Vienna

• The centre of 19th-century dance music was
  Vienna,
• the upsurge of interest in dancing was prompted
  by the popularity of the waltz.
• During the 18th century the waltz had developed
  from various country dances in triple time (such
  as the German dance and the landler) to make its
  way during the early years of the 19th century
  from the taverns in the suburbs of Vienna to the
  large dance halls that were being built in the
  city.
• The significance of the waltz was to rival that
  of its predecessor, the minuet, and its period of
  survival as a ballroom dance was to exceed that
  of any other. It was the waltz that, in spreading
  through Europe, persuaded a wider public to take
  an interest not only in the dance itself but in
  the music.

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Other Dances

• In the early 19th century the waltzs chief
  rivals for ballroom popularity were
• The quadrille, a formal square-dance, had
  developed from the country dance or contredanse
  as a quadrille de contredanses, and survived
  for most of the century as a more relaxed dance
  beside the other livelier dances. The quadrille
  had a complicated set of steps,
• The galop. by contrast with the galop which was
  one of the simplest dances ever invented. A
  lively dance, and a suitable way to bring an
  evening to an end, the galops popularity finally
  faded during the second half of the century.
• Perhaps second only to the waltz in popularity
  was the polka, a hopping dance which came from
  Bohemia in the 1830s it was the rage in Vienna
  and Paris by 1840 and in Britain and the USA
  during the following years, remaining popular
  until around the turn of the century.

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Polka

• The polka was not only popular in the social
  dance arena but could also be witnessed on the
  professional stage. The choreographer Jean
  Coralli produced a version for the Paris opera in
  1844, and Carlotta Grisi and her husband, Jules
  Perrot, performed their version at her majestys
  theatre in London. The polka also exerted an
  influence on music for the concert hall, though
  to a much lesser extent than the waltz. The first
  composer to develop it to any degree was Smetana,
  who not only composed polkas for dance orchestras
  but also incorporated the rhythm into weightier
  compositions like the bartered bride (1866).

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19th Century Dance

• other dances that achieved lesser significance
• polonaise, a processional dance, served as a
  suitable way to start an evening
• cotillon reappeared in various forms as a novelty
  dance
• mazurka achieved popularity either independently
  or in compound form as the polka-mazurka.
• There were indeed many variants of the main
  dances. The valse a deux temps was a quicker form
  of waltz with elements of the galop, while the
  redowa was another dance related to the waltz.
  The schottische achieved popularity around the
  mid-century and was closely related to the polka,
  while the polka itself was danced in German
  countries during the second half of the century
  either as the slower polka francaise or as the
  quicker polka schnell. The quadrille des
  lanciers, a variant of the quadrille which
  appeared in Britain about 1817 and reappeared
  throughout Europe in the 1850s, finally achieved
  popularity in Britain as the lancers.

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19th Century Dance

• Of the chief dances the quadrille in particular
  was restricted in its format and in the scope its
  regular eight-bar phrases gave for musical
  development.
• Other dance formats allowed greater development
  and more scope for musical creativity, and the
  waltz in particular, by including an extended
  introduction anticipating the main themes, by
  allowing the melodies to expand, and by rounding
  off the whole with a recapitulatory coda, was
  able to achieve the status of a miniature tone
  poem.
• The 19th-century dance was by no means confined
  to the ballroom quite apart from the extensive
  influence the waltz in particular had on serious
  music, as the minuet had before it, the main
  dance bands supplemented their playing at balls
  by giving concerts in parks and entertainment
  centres.
• The dance repertory was supplemented by operatic
  selections, instrumental showpieces and songs,
  but such dances as the waltz and polka became as
  much the main attractions of these concerts as of
  balls. Entertainment centres such as the Tivoli
  Gardens in Copenhagen were opened towards the
  middle of the century with such concerts as prime
  attractions, and many of the dance-band leaders
  of the time were at least as celebrated for their
  concerts as for their performances at balls.

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19th Century Dance

• Most celebrated dance-band leaders
• Lanner, the Strausses and Ziehrer in Vienna,
• Labitzky in Carlsbad, Gungl in Berlin,
• Musard, Isaac Strauss and Waldteufel in Paris
• H.C. Lumbye in Copenhagen.

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Orchestration 19th Century Dance

• Mozart composed his dances for the Vienna
  Redoutensaal double woodwind, a small body of
  strings without violas, and percussion yet the
  maintenance of a regular orchestra and the
  requirements of novelty items for popular
  concerts encouraged elements of showmanship and
  displays of instrumental technique that make
  these bands recognizable forerunners of the show
  bands of the 20th century.
• The spread of the waltzes of Johann Strauss I
  abroad during the 1830s in no way prepared
  audiences for the impression made by his
  orchestra on its international tours. In the
  Journal des debats in 1837 Berlioz enthused over
  the rhythmic precision of the band, the
  remarkable effect of the short, staccato themes
  being passed from one wind instrument to another
  and the thrilling effect of their fortissimo, and
  the enthusiasm was repeated wherever the
  orchestra went in Britain in 1838.
• The greatest of the showmen was Jullien, whose
  orchestra produced all manner of eccentric
  sounds. By the 1860s, however, when the waltz had
  become somewhat institutionalized and when the
  most famous examples (such as The Blue Danube and
  Tales from the Vienna Woods) were written, the
  main dance-orientated orchestras had become
  similar to small symphony orchestras, the style
  more lyrical and the instrumentation more
  conventional.