Johann Strauss, jr., later waltzes (2a)

This continues a series of posts on ten late waltz sets by Johann Strauss, jr.

2. Consonance/dissonance parallelisms and lines (mostly descending)

In an earlier post (link), I made the point that in the dance and concert dance repertoire, the history of the dominant ninth is bound up with a remarkably free treatment of the scale's upper tetrachord. Although this is a general practice in the dance repertoire (especially but not exclusively in waltzes, and by no means only in Strauss), I am concerned here with a set of figures that instantiates it in a particularly clear form.     (NB: Some examples are repeated from the previous post but are discussed in terms of lines, not just the treatment of ^5 and ^6.)

Adelen-Walzer, op.424 (1886), no. 2. A simple example to begin. Here every note in the pair (circled) is a chord tone. The E5 in bar 2 is locally a passing tone, but in bar 3 it is clearly the ninth of V9 and it resolves directly to ^5 over I.

Figaro (polka), op. 320 (1867). Out of the normal order—a polka from the 1860s, not a waltz from the 1880s—but another excellent example of the descent ^8 to ^5 where ^7 descends rather than rises and ^6 as the ninth of V9 resolves directly, but here with the added detail of a hint of Iadd6.

Waldteufel, Je t’aime, op. 177 (1882), no. 4. From Strauss's contemporary and the leading waltz composer in Paris at the time, here is a figure that Strauss himself also makes frequent use of: a descent ^8 to ^5 over the tonic bass. In this case, ^7 and ^6 are both understood as passing tones, but the attention given each opens the possibility—fully exploited in other circumstances—for Imaj7 and Iadd6.

Eduardo di Capua, “O sole mio” (1898). Without question one of the most famous songs from the venerable Neapolitan Piedigrotta Festival. Here is the first phrase in the second half. One can certainly hear F#5 in bar 1 and E5 in bar 3 as very expressive (sighing) escape tones, but the turn to D5 to end the phrase suggests a different, longer-range possibility -- see the sketch below the score.

--sketch of the first phrase

Strauss, Kaiser-Walzer, op.437 (1889), no. 1b. In the second strain of no.1, we encounter what appears to be a much longer line but in fact is two lines moving (almost) in parallel, where ^8 descends to ^5, as we have seen in previous examples, while ^10 descends to ^8. Note the Imaj7 sound in bar 2, but also the complication of bar 3: certainly we would like to hear bars 3-4 as a neighbor note dissonance, B5 resolving to the chord tone A5, but then retrospectively B5 in bar 2 sounds very much like a preparation, so that we have the sound of a classic suspension figure: [dissonant] preparation (bar 2)-[reiterated] suspension (bar 3)-resolution (bar 4). In the modified consequent phrase, we have the same figure a scale degree lower: the harmony in bar 6 then is unequivocally V9 with a direct resolution. As a postscript, note the now-familiar turn in the harmony in bar 13 and the participation of the ninth and internal resolution in the dominant in bar 15.

An der Elbe, op.477 (1897), no. 2. I have already discussed this under the shifting consonance/ dissonance heading. It is copied here only as an additional example of the ^8 to ^5 descent.

Hochzeitsreigen, op.453 (1893), no. 1b. In bars 1-2, Imaj7 continues its distinctive role as perhaps-prominent-sonority-perhaps-harmony, while Iadd6 in bar 2 is plainly defined as a harmony through chord change and the step down in bar 3. In the parallel phrase (a2), B5 is definitely a chord tone and V9 is clearly defined as a harmony.

Hochzeitsreigen, op.453 (1893), no. 3. Here ^7 retreats to melodic status, while ^6 is given more prominence.

Rathausball-Tänze, op.438 (1890),  no. 1a. Scale degree ^6 is part of a defined Iadd6 harmony in bar 4, then the fifth of ii in bars 8-10, then the ninth of V9 in bar 14, and the root of vi in bars 15-16. Quite a journey for a single pitch! Note another instance of ^7 over the tonic in bars 13 and 20.

Gartenlaube, op.461 (1895), no. 4b. This was discussed in the previous post. It is reproduced here to show an instance of a long line, ^8 down to ^2, then ^11 down to ^5 in the parallel phrase.

Rathausball-Tänze, op.438 (1890),  no. 3. A 16-bar period, where the antecedent has a line running down from ^8 to ^5, points of interest being the unclear harmony in bar 4 and the almost direct resolution of the ninth in bars 6-7. The consequent picks up this line but then takes it down all the way through the octave. In William Caplin's terms, bars 10-16 are built on an ECP (expanded cadential progression, typically starting with I6 as in bar 10).

”O sole mio,” introduction. The figure from the second part (see earlier in this post) is used for the introduction in the published song. As in the preceding example, the line moves through an entire octave to conclude in a perfect authentic cadence.

This study of lines continues in the next post.

Others, circa 1800-1850

Carl Czerny, 100 Progressive Recreations (alternate titles: Erster Clavier-Unterricht in 100 Unterholungen; 100 Recréations) is unusual for Czerny in that it was not assigned an opus number and the date of first publication is uncertain (at least, I can't find one easily). Also, somewhat unusually, the majority of the 100 pieces are simplified versions of familiar melodies or excerpts from larger compositions, as with Bellini's Norma in this case. This example is interesting for the suspension figure that begins with the dramatically emphasized and positioned ^6. The whole figure fits my category 1.3 best, even though the ninth is not attacked again on the strong beat.

Auber, Die Muette de Portici, n24 "Honneur" theme. Also in category 1.3 (arrow, second system third bar), but in 1.2 (arrow, second system sixth bar), the difference being that the latter is sounded on a weak beat.

Donizetti in Czerny, 100 Recreations. Category 1.3 in bar 7 (D6 on the strong beat resolves to C6 within the dominant harmony). In bars 3-4, however, I am wary of the 32nd note C6. If that is a resolution, then category 1.3 holds, but I prefer 2.1, an indirect resolution of ^6 to ^5 over the tonic chord, and therefore bar 3 is a proper dominant ninth chord.

Donizetti, Princess Helena's Polka, as arranged by Allen Dodworth (New York, 1847). The modern notation is by Robert A. Hudson. A clear V9 harmony with the uncommon rising resolution.

Rossini from La Cenerentola, in Czerny 100 Recreations. A simple emphasized upper neighbor/appoggiatura, immediately resolved within the V chord.

William Schubert, arranger, Three Favorite Polkas (Philadelphia, 1845), n1. Indirect resolution of the ninth to the fifth of the tonic chord, category 2.1.

Allen Dodworth, Very Best Polka (New York, 1850). The modern notation is by Robert A. Hudson. As above, indirect resolution (category 2.1). In bars 6-8, ^5 is easily imagined given the earlier figure in bars 2-4.

Henri Appy, Elizabeth Polka. Published in St. Louis in 1853. Direct (or very quick indirect) resolution (boxed). An ascending cadence gesture in bars 7-8.

W. P. Badger, Pascagoula Melodies n1: Union Polka (Boston, 1853). Direct resolution in the boxes.

Ferdinand Beyer, Trois Polkas, op 51, n1: Camellia Polka (Mainz, 1846?).

Johann Strauss, jr., Polka 'Auf freiem Fusse," Op. 345

In 1871, Johann Strauss, jr., published the polka 'Auf freiem Fusse," his opus 345. With the one score available to me, I can't tell if it is meant to be française or schnell, that is, in slow or fast tempo. (The slower polka is close to the dance as it first became popular about 1840; the faster one is often musically indistinguishable from the galop—and had largely replaced it by 1860. The title is an idiom that can literally mean "free feet"—that is, not wearing shoes—but more generally means "on your own," "without obligations," etc. I will refrain from making a judgment based on the title, noting only that it would be unwise to attempt a galop or polka schnell without shoes. . . .)

The first strain does indeed offer some freedom to its harmonies. In bars 2-3, a proper Iadd6: both fifth and sixth are present, the sixth is at the top, and it is not "resolved," either within the chord or from it. Similarly, in bar 7 is a proper V9 chord (the ninth is at the top, and it is directly resolved, that is, not within the chord but from it).

The beam covering the last three bars marks the descent from ^7 to ^5 over V; it is figure (g) from the introductory post -- see below. Not found very often earlier in the century, it had become a commonplace by the 1860s, in the time of the mature, now best known waltzes of Strauss. As such, it should be a familiar sound to any reader.