The Prince George's enquirer and southern Maryland advertiser. (Upper Marlborough, Md.) 1882-1925, 1905-06-30
lard, and this name indicates the char
acter of the transformation.

Five hundred years later they
danced the vulte, which was in turn a
transformation of the gilliard. The
measure was ternary, like the latter
and might DO designated technically
thus: two steps, skip, feet together
pause. The man first faced the op.
posite couple, the skipped on the left
foot turning the left shoulder toward
them; repeating this four times, he
again faced the other dancers; as for
the lady, her movements were reduced
to embracing as tightly as possible the
neck Of her cavalier.
As can be seen at once, this dance
resembled the waltz in three ways. 1t
was danced in three time, it was the
first dance in which the dancer EN-.
braced his partner The latter, in
fact, did not touch the ground; the
cavalier held her suspended with his
left arm as he executed the four move
ments described above.
At the court of Valois the vote was
favorite dance, especially with Cath
crime de Medici, while Henry II was
charmed with the Psalm which Glenn
ent Morot set to an air of the volte,
thinking, perhaps, that what came
from the Church should 60 back to
the Church. The vote, as did later
the waltz, turned the heads OF this
court. The queen, Marguerite de
Navarro, wife of II nry ", was an
admirable Uoltense
After the corrupt court of Ealois
had been dispersed by the L 'ague, and
Henry III, the last of the great uolteurs,
had fallen under the knife of Jacques
Clement, this dance disappeared for
ever from court, city, and people.
Though it greatly resembled the waltz
the latter did not descend from it di-
rectly, but was rather the younger
sister of it.
In this, the romanesca, transported
as We have said, to Prov ence and south
ern Germany, was developed in these
countries very differently; in Provence
into the gaillard and volte, while the
Germans, more dreamy and slow;
changed the romanesca into the ger
man and waltz.
The volte succumbed, while young,
to oblivion, in the sixteeth century, by
very reason of its excess, but the ger
man lived long, and produced the waltz
which reigns today.
About 1850 an incident occurred
which tended to fix definitely the waltz
among German customs, in its present
form and names, placing it in high so,
ciety and making it known to foreign
ers. This was it's introduction in an
opera by Vincent Martin, ''Una Cosa
Vara," which, in 1887, dethroned, at
Vienna, the "Figara" Of Mozart.
Four characters in this opera; Lubia,
Vita, Chita, and Lila, dressed in black
and rose color, danced on the stage the
first waltz.
The favorable reception of the opera
naturally drew the attention of society
to the dance, and under the name of
cosa vara it Immediately became the
fashion, and shortly afterward assum,
ed the name of waltz, by which it has
been known ever since.
Thus from the tourdion of the aris-
tocratic dance, transformed by the
people was born the romanesca, which
became, in France, the gaillard and
volte, and in Germany, through var
ious stages, emerged at last into
the waltz, and this last avatar of the
old dance OF the elenth century seems
to be installed definitely and to have
fixed the fancy of the world.
The waltz has always had, and al
ways will have, opposition, but it has
triumphed over all, and today its mus
ical rhythm, so charming and captiv-
ating, which Beethoven and Chopin
disdained not to immortalize, is to be
heard on every side. The Invitation
to the Waltz" by Weber, magnificent
ly orchestrated by Berloiz, is celebrat-
ed. Of course, it must be remember
ed that these waltzes were composed
to be listened to rather than to be
dane ed.-The Parisian
Lo.l .ol Ioo1, ,p al