The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1899-12-24
TEE ORIGIN OF THE WALTZ.
lot Of German Derivation, hut q
Sacred Pagan Dance.


The opinion most generally conceded is
that France received the waltz from Ger
many toward the close Of the eighteenth
century. and among many beliefs this con-
hins the most truth, but the justice Of
attributing to Germanic influence the rem
aissance OF the waltz in France does not
81 necessity verify the statement that it
mad Its origin In Germany. Like every
thing ele that touches humanity, where
nothing Il born spontaneously, but every
thing Is the product of series Of success
ave evolutions, the waltz did not emanate
IN 10 present form from the brain of a
oanctng master. Long before 1850, the
time when We find it first mentioned un-
Ger this name. fts graceful curves and
eaaences we're displayed on the village
greene as well as In the golden salons of
palaces It had its alterations of vogue
sna neglect Its supporters and detractors.
me waltz like many other secular things,
We ma nrst in the church, where, in the
miast Of barbaric disorder, 1t serves to
uaee tne union between ancient civiliza-
uop and that of the middle ages. The
acred dance of the pagans is preserved
70 certain point in Christian rites; 1t is
transformed to series of evoIutions made
. Inc sound Of the tambourine. st. Isl
eofe, archbishop OF Seville, born about
~, =, se was intrusted by the Council of
a''edo with the revision of the liturgy as
was then practiced In the Roman
ssauicni IN which there was a tambourine
sa alse. inc council decided to adopt the
ss'lofiah liturgy In all Spain. and it diff
se1sa Out little from that used in other
seuh'res at that time. This rite ceIe-
s s,s'ea before the eighth century, when the
LIS hrst inyated Spain, was still cele-
s.ea by the Christians in the seven
.h-s OF Toledo. which the Moors
s ~ after their capture of the city.
,ss u was after that time called the Moor
~ Ivy was known and employed in Prov
NJ. and Italy. The tamhourine in use in
Az. .ensious dance was called by st. Iri-
eo,sa moi.e DE symphonic" and evidently
tho ss...s 10 the instrument which, in
he sn.s ht sacred dances, accompanied
cenhr,a. = sort or bagpipe invented two
ssa.uries B. c. And thus. as the religious
sa ase Of the middle ages, it Is allied 10 the
sr rssnt sacred dance, so the waltz Is an
sas saaon OF this religion dance. having
ryss through many changes before ar
ensh 80 a. us present form. In the eley-
nan,ss . ~. when the Gregorian rite sup
ennsssas "hs Moorish rite. the dance dis
ysyv 80. rom the church. 1t appeared
taro,s sN'eaiy IN society under the name of
carol caraora. word derived from the Latin
6ss.a afterward under that of bassa-
M an - which the grand preiates. kings
sonDo a.ssi'aries -.u not disdain to ioin.
lra posea OF three parts-two very slow
Ills t ,Iro more lively The people-and at
D. ,a anie all who were not of the clergy
Ter nar, We're the people-used the lat
and ~ called the tourdlon, which, lighter
lttls more n, ,,.. lively. appealed TO them. and
II vas ,r n,'le It became changed. In Italy
us ssn ntst separated from the rest under
p,x.s OF romanesca, and from there n
MANY provence and Southern Ger
he s,,,, N Provence it was developed into
more sran and vote while the Germans,
nsns.sa Fanny and slow, changed the ro-
rhs ~. into the allemand and walt
Won n - succnmbed while young to obli
vi ~ a.. -. sixteenth century by very rea-
In, rs excess. hut the German lived
today S''''uced the waltz which reigns
irom the tourdion of the aristo.