Annotation:German Waltz (3)

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X:1 T:German Valtz [3] M:3/8 L:1/8 R:Waltz C:W. Duchatz B:John Watlen - The Celebrated Circus Tunes (Edinburgh, 1791, p. 7) Z:AK/Fiddler's Companion K:Bb F|B2 d/f/|e/d/c/B/ A/G/|FGA|B/c/d/e/f|B2 d/f/|e/d/c/B/ A/G/| FG/B/A/c/|[D2B2]z:||:[df]|f>ed |dcg|g>fe|edf| f>ed|g>fe |d>ec|[D2B2]:||:BBB|B/A/c/A/F| fff|e/d/f/d/B|BBB|B/A/c/A/F|ffd/e/c/|[D2B2]:| |:d|d>ef|ggg|c>de|fff|B>cd|eee|cAF|[D2B2]:|]

GERMAN WALTZ [3]. AKA - "German Valtz." German, Waltz (3/8 time). B Flat Major. Standard tuning (fiddle). AABBCCDD. The tune is attributed to W. Duchatz in John Watlen's Celebrated Circus Tunes (Edinburgh, 1791). William (or perhaps Wenceslaus) Duchatz was a classical composer and arranger of material for the pedal harp or the piano-forte who flourished in the late 18th and early 19th centuries. Styled "a professor of the harp" he published such works as Three favorite progressive Airs with Variations set for the Pedal Harp or Piano Fore (1801) and A March and two favorite Rondos. Selected and composed for the pedal harp, or piano forte (1801).

When the waltz was performed at the Royal Circus it was still quite a new dance form and thought to be scandalous by many. It had become fashionable in Vienna around the 1780s and spread throughout the Continent, but it did not became fashionable in Britain until the Regency period (having been made respectable by the endorsement of Dorothea Lieven, wife of the Russian ambassador). Almack's, the most exclusive club in London, permitted the waltz from about 1812 on.

Duchatz's waltz was republished by James Aird in his Selection, vol. 4 (Glasgow, 1796), as were many of tunes from Watlen's volume, with no source or composer attribution.

Additional notes

Printed sources : - Aird (Selection of Scotch, English, Irish and Foreign Airs, vol. 4), 1796; No. 53, p. 20. Watlen (The Celebrated Circus Tunes), 1791; p. 7.

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