Music and Dance

It is true that music cannot describe the surrounding reality as faithfully as literature, film, photography, or painting. But it is also rarely as verbose as some novels or as banal as bad cinema. Instead, it can tell stories about more ephemeral matters, and at the same time, it is more universal because it uses only one language.

In today's times, it is easy to forget that access to knowledge was not always as obvious and widespread as it is today. Before thick volumes of historical knowledge appeared, stories of ancestors and legends were passed on through melodies from mouth to mouth. Even today's world - so poor in untouched by civilization societies - provides evidence that where even writing did not emerge, music and dance are present.

"IN THE BEGINNING WAS RHYTHM" - J. BRAHMS

Rhythm is probably the most basic element of music. I would even say that it is its most primitive form because before our distant ancestors tied sounds into melody, they probably first tapped out some simple rhythm. In the same way a child starts with shaking a rattle before singing the first song.

Dance has always been an integral part of collective life. It added courage before battle, expressed gratitude for bountiful harvests and prayers to the gods for rain, but it also provided entertainment. In our times, dance has even reached the stars, giving vent to commercialized vanity (those who do not know what is meant, the better for them). Regardless of the era and geographical breadth, music has always accompanied dance. Not only did it help maintain uncertain steps, but it also allowed to lose oneself in that swirling pleasure. Of course, dance took on different forms in different eras and countries, and even social classes, nevertheless, its most important functions remain the same.

"...HE WAS SO SAD THAT THE WALTZ WOULD FADE AWAY..." - A. OSIECKA

The history of dance is probably as long as the history of culture. It is a colorful world of gavottes, sarabands, cotillions, krakowiaks, tangos, polkas, czardas, obereks, mazurkas, and polonaises... The choice to spin may come to mind before we even start dancing. Therefore, there will be no definition here, nor an exhaustive catalog of examples. Instead, a few of my favorite waltzes. Because I believe that in this form, music and dance complement each other perfectly, creating an inseparable whole.

Built in 3/4 meter (ONE-two-three, ONE-two-three), the waltz allows you to glide across the dance floor (or home corridor) with lightness, grace, and only moderate breathlessness. The king of the waltz is, of course, Johann Strauss II, and his waltz "The Blue Danube" has practically become the definition of this musical form. Although it is worth mentioning that its premiere on February 13, 1867 did not arouse much enthusiasm, and Strauss himself summed it up: "To hell with this waltz! I am sad, however, that it was not a success":

My favorite waltz is probably the waltz from Tchaikovsky's "Swan Lake." It not only possesses all the elegance of the Viennese waltz but also Russian melancholy and drama. It is no wonder that this beautiful waltz was used in the film adaptation of "Anna Karenina." To its sound, Anna dances with Vronsky, realizing both the power of love and her tragic fate. Tolstoy himself could not have invented a better musical background for this couple...



And since we are in Russia, it is worth taking a look at our own backyard and listening to the waltzes of Wojciech Kilar and Waldemar Kazanecki. Both pieces come from famous adaptations of Polish novels: "The Deluge" and "Nights and Days." And although they still inspire to dance, I cannot help but feel that they lack the sincere joy of Viennese waltzes. There is no Straussian splendor and courtly bustle here, instead, there is a deeply hidden Slavic melancholic note...

Want to learn the Viennese Waltz and other social dances? Look for a dance school in your city that offers social dance courses. The Silesian Dance School Katowice invites you to regular courses throughout the entire Silesia.