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The German Valse was just another way of saying Waltz .
Germany pronounced 'W" as a "V". TheLa
Valse à deux temps made its first appearance
at theCourt of Vienna , and was-danced inParis at the Opera halls.La Valse à
deux temps was introduced at the soirées in Berlin ,
St. Petersburg , and London in
1813. This Waltz became
more popular than all the others at the time and it became very
popular about the 1850s.
- In the carnival of 1832
it was danced by the corps de ballet ,
when it met with a very indifferent reception. Six months after
this, at Baden-Baden , (Germany) it was
danced by all the fashionable company there assembled, and was
very favorably received. At the close of the season, when the
members of the assemblies, which consisted of the élite's
of Europe , returned to their respective capitals,
The step of the La Valse à deux temps (three steps, not
two) was the same as that of the Gallop
of the time, the difference only being in the accentuation, as
it is danced to waltz music. The English Valse
is said to be done extremely smooth.
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- The Hungarian Valse,
The national dance was the Valse of the Hungarians performed on
festive occasions with equal zest by the magnates and the peasants.
It is characterized by simplicity and elegance, and has always
been received with pleasure when presented in ballets. Gioacchino
Rossini (1792-1868) caused its introduction based on
the play by Schillerin, in his opera of "Guillaume Tell"
(William Tell) in 1829, Paris.
Valse L' Americaine was first composed in 1866
by the Societe' Academique des Profeseurs de danse de Paris. (Probably
was the Boston, which was introduced in 1834 in the USA.)
Redowa Valse: Done in 3/4 time was introduced
to Paris in 1884. It originated out of the Redowak (Redowa) from
Bohemia.
Polka Valse: , was done in 2/4 time.
- Cartier Says:
"The Hesitation Valse
is a variety of the true Valse that can very easily be performed
once the Valse is known. Defined in a nutshell, the "Hesitation"
is a halt on one foot (with the other foot suspended in the
air) during the whole "1-2.3" of the beat of the
music, or during the "2.3" only of every alternate "1-2.3."
The ways of performing the "hesitation" are many and
varied, and no way can be said to be more orthodox or correct
than any other."
- L. D. G. Brookes writes
in his book ...
"We find in Chapman's "Alphonsus , Emperor
of Germany," the following lines: "We Germans have no
changes in our dances, an Almain and an upspring,
that is all." The upspring was the origin of the modern Valse,
which was for a long time put down by Papal power. Although long
danced in Bavaria, under the name of "Landler ,"
or "Hospur ," it did not become fashionable
until 1787, when Vincent Martin' s opera, "The
Cosarara ," drove from the Viennese stage Mozart's
"Figaro ." Four characters in this opera,
dressed in black and pink, danced the first Valse ,
or "Langaus ," as it was then called,
on the stage thence it migrated to the ballrooms, and ere long
all Germany went wild about the Valse. Weber ,
then in his prime, wrote his "Invitation to the Dance ,"
and in a short time the whole fashionable society of Germany was
spinning around like testotums. Presently the waltz made its way
to England , and Lord Byron tried
to write it out of favor, in which he did not succeed. The German
Valse was much improved when the elder Strauss
took it under his protection, and wrote the most danceable tunes
for it".
for additional info ...SEE WALTZ
FOR NOW!
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Birth Place |
Creation Date |
Creator |
Dance Type |
| Germany |
1800s |
n/a |
Ballroom |
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Ballrooms / Night Clubs
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Theaters |
Locations |
| E.
Reillys - (1866-Paris) |
Maryinsky
Theatre |
n/a |
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Films / Movies |
Television |
Ballets / Opera / Stage |
| 1900
- Valse directoire |
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Chopiniana (1892) |
| 1935
- Valse Royale |
n/a |
Méditation |
| 1936
- Valse brillante de Chopin |
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Mephisto Valse (1934) |
| 1943
- La Valse Blanche |
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Peer
Gynt |
| 1948
- Valse Brilliante |
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1950 - La Valse De Paris |
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Publications |
| 1951
- La Valse |
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12/15/1904 - Feminia Magazine |
| 1959 - Valse du gorille, La |
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11/1960 Dance Magazine (1912 Jardin de Danse) |
| 1963
- Valse noot, De |
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| 1974
- Valse à trois |
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| 1979
- Valse Triste |
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| 1987
- la Valse des médias |
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| 1994
- la Valse de l'étoile filante |
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Books, Magazine Articles on the dance... |
| Title |
Author |
Date
Published |
Publisher |
| Coulon's
Handbook |
Coulon,
Eugene |
1860 |
A.
Hammonds |
| Brooke's
on Modern Dancing |
Brookes,
De Garmo Laurence |
1867 |
De
Garmo |
| Handbook
of Ballroom Dancing |
Cartier,
P. |
1888 |
DeWitt |
Musicians |
Artists |
Poets / Writers |
| Belmonte,
Sylvestor |
Camille
Claudel (La Valse) |
n/a |
| Carton,
Philippe |
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| Molassco,
G. |
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| Ravel,
Maurice (1875-1937) |
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| Rico,
Joeseph |
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| Rossini,
Gioacchino (1792-1868) |
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| Saint-Saens |
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| Strauss,
Johann II (1825-1899) |
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| Tyers,
W.H. |
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| Zulueta,
Pedro De |
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Misc. Research Words that may be related ... to help your searches |
| Salon
Dances |
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| Walzerleid |
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The
Basic Step to "The Valse à deux temps" (excerpted
from Coulon's Handbook in 1873):
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| "occupies
three STEPS like the BASIC waltz; only they are otherwise divided.
1)
The first consists of a sliding step,
2) the second is marked by a chassé
which always includes two intervals in one. (A chassé is
performed by bringing one foot near the other, which is then moved
forward, backward, right, left, or round.) The gentleman begins
by sliding to the left with his left foot, then performing a chassé
towards the left with his right foot without turning at all during
these two first times. He then slides his right foot backwards,
turning half round; after which he places his left foot behind
to make a little chassé forward,
turning them round for the second interval.
3) He should finish with his right foot a little forward, and
begin again with his left.
The
lady waltzes after the same manner with this exception, that the
first time she slides to the right with her right foot, and makes
the chassé also on the right.
She then continues the same as the gentleman, but à
Contre pied, that is, she slides with her right foot backwards,
when the gentleman slides with his left foot to the left; and
when the gentleman slides with his right foot backwards, she slides
with her left foot to the left. One of the first principles of
this waltz is never to jump, but only to slide. The knees must
be kept slightly bent and the steps must be made rather wide."
End.
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