German dance

The German dance or " Teutsche " is an example of the exchange and the relationship between courtly dance, ballroom dance and folk dance.

Origins

He goes in its origins to the Allemande - back (French, " German "). This was a dance from the 16th to the 18th century, consisting of a quiet Vortanz in a straight stroke and a faster after-dance in triple time. For example, in Johann Hermann Sparkle " Banchetto Musicale " from 1617.

Development

As in the 18th century, the allemande by other dances, such as Minuet from the fine ballrooms was ousted, she went to the " musical underground ." That is, they lived in the folk music further and changed: from the after-dance in triple meter built about the middle of the 18th century in southern Germany and Austria the " German ". He is a folk dance of rotation for single pairs in 3/4- or 3/8-time. The simple musical structure generally consists of two repeated Achttaktern.

Dance prohibitions

Because of the tight posture was the dance as immoral. In Bavaria in 1760 were " walzend and schutzend Dancers " prohibited in 1772 the ban was also in Salzburg, as it was doing to " lewd Beta " relevant come.

The development still could not be allowed: Against the opposition of church and nobility sat the " German " than "lower " Dance in the wake of bourgeois emancipation movement and the French Revolution since 1790, first in Vienna by. The enlightened Emperor Joseph II gave for balls in the Redoutensäle " German " in the best musicians of the time in order. Therefore, there are dances of this kind of Haydn, Mozart, Beethoven and Schubert. Also in the German folk music can be used again and again, now usually called Tafelmusik, in some places as a folk dance.

Dance figures

In a description of the end of the 18th century, the " German " as follows danced: " The dancers include with one arm while the two free hands are placed one inside and outstretched. The couple turns. The individual pairs form a large circle and then circle the room. Inside the circle, where they are not disturbed by the rapid reversal of the roller ends (! ), Individual couples try in the figures. These consist of graceful convolutions of the arms and dainty positions of the body. "

See These figures according to contemporary figures such as Landler figures (eg shutters, yoke, Herzerl ). ( See also " Open Waltz ". ) It is therefore often assumed that waltzes and Landler different versions of the " Germans" are who have become independent over time. However, the Landler is at least much older, the 1734 - 1737 deported to Transylvania Landler took at that time its already fully developed, mehrfigurigen with landlerischen dances that are the danced in what is now Upper Austria Landler very similar and have the waltz round dance as the final figure. Thus, the " German " an evolution of the ländler could be ( a kind of " intermediate stage " on the way to the waltz ). It could also be that " German " is simply the older name for the Landler.

When Lüsener Germans, a Landler from South Tyrol, the 5th character is " German dance " named. In fact, this figure is a Schuhplattler figure.

Development to waltz

Beginning of the 19th century was the " German " in stepping up the pace in the waltz. The Landler and only partially of German dance survived more in folk music. Since the last quarter of the 18th century, the term " Landler " appears for the first time for the slow type of dancing with figures.

Franz Schubert (1797-1828) called his waltzes initially " German ". He also used alternately both terms for the same piece of music. After the Congress of Vienna (1815 ) to put the German " national dance " internationally and became the leading dance company of the 19th century. The then waltzes were still kept rather simple, yet individual dances were compiled only to longer sequences. The " Invitation to the Dance " by Carl Maria von Weber in 1819 then became the model of the " Viennese Waltz ", in which the shape of initiation, chain of five waltzes and coda is characteristic with thematic recourses.

A letter from Tragöss (Styria ) from 1860 says: The old cozy Styrian music was supplanted by the invention of flugelhorn and Maschintrompeten as well as the Styrian dances and ancient Germans, as the former were called Waltz, Polka, Franzaise, mazurka, etc. that have been naturalized by traveling Bohemian musicians, had to give way.

The German in folk dance

• In Mieger ( Carinthia), the German is danced as menuettartiger border dance, see
• In Lüsen (South Tyrol ) a Schuhplattler figure is named as German Dancing, see

Swell

• The music. Dudenverlag, 1979
• Salzburg's musical history. Publisher Anton Pustet, Regensburg 2005
• How to dance only in Vienna. Pichler Verlag, 1997
• Richard Wolfram: The folk dances in Austria and related dances in Europe. Otto Müller Verlag, 1951
• Carl Joseph von Feldt stone: Expanding the art of dance to the Choreography, Braunschweig 1772 ( digitized )
• Rudolf Flotzinger: German dance. In: Oesterreichisches music lexicon. Online edition, Vienna 2002 et seq, ISBN 3-7001-3077-5; Print Edition: Volume 1, Austrian Academy of Sciences, Vienna 2002, ISBN 3-7001-3043-0.

• Courtly dance
• German dance
• Austrian dance
• Folk dance form
• Walzerart
• Dance in Western culture