Kaiserwalzer (Emperor Waltz)

Johann Strauss Jr.’s Der Kaiserwaltzer (The Emperor Waltz) seems to have gotten its name from the martial character of the opening section. That’s slightly ironic, of course, for the work’s Introduction is not a waltz at all (it’s not even in triple meter), it’s a march. Overall The Emperor Waltz is not one dance but many: an Introduction and Coda framing four unique waltzes. The mood at first is one of hushed anticipation which builds quite quickly to a full-bodied, “imperial” march. This theme eventually dissolves to quiet once again, thus tracing a familiar dramatic arch. Perhaps the scale of this opening section was problematic for Strauss, for he seems uncertain how to get out of it and into his first waltz. The transition starts with a “horn call” motive, then spins excessively over static arpeggios. It culminates with a sinewy chromatic line taken straight out of the world of Wagner‘s Tristan und Isolde, albeit with a bit of tongue-in-cheek seriousness.
How wonderfully simple is the lyricism of Waltz No. 1 after all the bluster of the preceding march and transition. Many classical features are here, including highly regular (i.e., danceable) phrase structure, pulsing chord rhythm, simple tonic and dominant harmonies, and a memorable melody. What sets Strauss apart are his energizing, chromatic inner voices and, in particular, the choreographed pause on an accented dissonance. The B material of this waltz is more robust and nicely reengages the martial spirit heard in the Introduction. Such contrast between A and B themes marks most of the waltzes in the composition.
Waltz No. 2 begins with a striking key change, almost as if Strauss has closed one door in the palace but opened another onto a whole new scene. Once again, the B material is more extroverted, and staccato articulation suggests the snap-like precision of soldiers on parade. The character of Waltz No. 3 stems from its combination of very long and short rhythms, as well as the striking contrast of A and B materials. Strauss composes a linking passage leading into Waltz No. 4, but (curiously) the climax of this linking motion actually functions as the opening bars of the new waltz. The coda partly serves the purposes of tonal contrast and balance (to the Introduction), but more importantly it functions as a kind of programmatic “last dance.” Strauss starts the coda with a bit of nondescript, scene changing music, but eventually the spotlight falls, as it were, on two dancers—the royal couple perhaps, or more likely a pair of young lovers, absorbed in the music (Waltz No. 1) and each other. Strauss then revisits Waltz No. 3 for its last moment to shine, but he has still not gotten Waltz No. 1 out of his (and probably our) head! We forgive him this final “faded memory” of the elegant, introspective waltz tune before the rush of Viennese society carries the work to its grandiose finish.

(c) Jason Stell