One of the mysteries of the English language finally explained.
A waltz characterized by a slight anticipation of the second beat of the bar and having a romantic quality.
- ‘I began improvising a little introduction, and little by little I accentuated the unique rhythm of the Viennese waltz until I finally led into my favourite waltz, Neu Wien.’
- ‘Of course there was a lyric pas de deux, of course to a Viennese waltz.’
- ‘The big numbers included, of course, the cancan, but also a Viennese waltz scene with the dancers in flowing ballroom gowns and a big, big finale, with ostrich-plume headwear and sequinned costumes.’
- ‘The French dispute this saying that, like the traditional waltz, the Viennese waltz was also developed from The Volta.’
- ‘The leading composer and conductor of dance music of the era, he went on to compose over 300 works, and was known as one of the chief architects of the Viennese waltz.’
- ‘There is in Strauss and in the best of the other Viennese waltz composers - Ziehrer, Millocker, Lehar and Kalman - a beguiling mixture of joy mixed with the strain of melancholy.’
- ‘The only thing I wish was that we'd had some strong men there, so we could have ended with some Viennese waltzes.’
- ‘She herself knew little about polkas or the fast-paced Viennese waltz, but with Theo leading it seemed she was soon flying effortlessly, flushed with pleasure and exertion.’
- ‘Their favorite compulsory dances have been the blues and the Viennese waltz although Devins noted ‘all compulsories get boring after practicing them for a whole year.’’
- ‘In its classical form, the Viennese waltz featured a slight anticipation of the second beat of the bar known as the Atempause (literally ‘breathing-space’), which gives a delightful and distinctive lilt to the playing.’
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