Ascending Cadence Gestures, A New Historical Survey, Part 5d2: 1860-1900, Polkas David Neumeyer Professor Emeritus of Music The University of Texas at Austin June 2021 Abstract: This essay continues from the Historical Survey Parts 4b & 4b2, which covered polkas between 1840 and 1861, to document ascending cadence gestures in more than fifty polkas after that, to c. 1890. Composers represented, among many others, are Gonzaga, Kéler, Johann Strauss, jr., Sullivan, and Ziehrer. An appendix discusses the Clarinet Polka and Modřanská Polka (“Beer Barrel Polka”). Unless indicated otherwise by note or citation, nothing in this file has been published previously—with the exception of referenced and unreferenced material that has appeared in other essays of mine published on the Texas ScholarWorks platform or in one of my blogs. Musical examples come from public domain sources, most of them downloaded from IMSLP (http://imslp.org). Any figures occasionally drawn from published sources that may still be under right are condensed, edited, and/or annotated and conform to Fair Use guidelines. All new material and the compilation copyright David Neumeyer 2021. The license under which this essay is published is: Creative Commons Attribution-NonCommercial-NoDerivs 3.0 United States. New Historical Survey 5d2, p. 2 Table of Contents Introduction §1. Various authors, c. 1860 to 1893 Béla Kéler, Ernst Litfass Annoncier Polka, op. 14 (1860c) Béla Kéler, La Rose, polka française, op. 18 (1860c) Béla Kéler, Wiedersehen Polka, op. 41 (1860c) A. E. Blackmar, The Washington Artillery Polka March (1864) J. T. Wamelink, The Central Skating Park Polka (1865) Paul Tulane Wayne, Trolley Polka, (1893) §2. Polkas published in 1874 Joseph Ascher, Fête des moissonneurs Paul Barbot, La charmeuse, polka-mazurka, op. 105 Edouard Deransart, Améthyste W. L. Hayden, Love's Chidings Georges Lamothe, De Paris à Vienne, op. 172 E. Nollet, Ketty, op. 52 §3. Polkas published in 1877 Léo Delibes, arr. Arban, Polka sur Sylvia Louis Dessaux, Primavera polka-mazurka Louis Gregh, Dora Polka brillante Franz Hitz, Pluie de soleil, op. 219 Jules Klein, Tête de linotte polka-légere Victor Massé, arr. Adrien Talexy, Polka-mazurka sur Paul et Virginie Henri Nuyens, L’élégante polka-mazurka Julio Rossi, Lorgnette-Polka, op. 45 H. Siewert, Goldelse, Rheinländer-Polka, op. 81 Louis Wallis, All on Board Alfred Yung, Arcachon §4. Polkas published in 1878 Arban, Orangerie-Polka Georges Bachmann, Impromptu Polka, op. 42 Louis Bonardi, Arbalète-Polka Francisca H. N. (Chiquinha) Gonzaga, Sultana Olivier Métra, Tambour battant Laurent de Rillé, Princesse Rose, polka-mazurka New Historical Survey 5d2, p. 3 Arthur Sullivan, arr. Charles Godfrey, H. M. S. Pinafore Polka Carl Michael Ziehrer, Blumenpolka, op. 316 §5. Johann Strauss, jr., operettas Strauss, jr., polkas from Die Fledermaus Fledermaus-Polka, op. 362 (1874) Tik-Tak Polka, op. 365 (1874?) “Glücklich ist, wer vergißt!,” polka-mazurka, op. 368 (1874?) Strauss, jr., polka from Prinz Methusalem Kriegers Liebchen, op. 379 (1880) Strauss, jr., polkas from Blindekuh Pariser-Polka, op. 382 (1879) Nur fort!, op. 383 (1879) Strauss, jr., polkas from Der Zigeunerbaron Brautschau, op. 417 (1885) Die Wahrsagerin, polka-mazurka, op. 420 (1885) Husaren-Polka, op. 421 (1885) Strauss, jr., polkas from Simplicius Lagerlust, op. 431 (1888) Mutig voran!, op. 432 (1888) §6. Francisca H. N. (Chiquinha) Gonzaga Viva o Carnival (1884) Musiciana (1885) Alertai polka militar (1890c) Annita (1894c) §7. Seven polkas published in Paris or Rio de Janeiro in 1904 J. Baldran, Après boire Polka Marche Americo Costa, Caricaturista Polka Pedro Galdino, Julia Polka Alfredo Gravato, Polka Gostas de mim? L. P., Boas festas W. J. Paans, Circulez Polka-marche José Vieira do Couto, Açoriana Polka §8. Appendix Author?, The Clarinet Polka (late 1800s) Jaromír Vejvoda, Modřanská Polka (“Beer Barrel Polka”; 1927) New Historical Survey 5d2, p. 4 Introduction This essay supplements the New Historical Survey, Parts 4b & 4b2, which covered polkas between 1840 and 1861: link to 4b; link to 4b2. Here find documentation of ascending cadence gestures in polkas after that, to c. 1890. Composers represented, among many others, are Gonzaga, Kéler, Johann Strauss, jr., and Ziehrer. A supplement consists of seven polkas from 1904, after which an appendix looks briefly at two very familiar items: the Clarinet Polka (1890s?) and the Modřanská Polka (“Beer Barrel Polka”; 1927). For background information and discussion of goals and methods in this multi- part essay series, please refer to the file Ascending Cadence Gestures, New Historical Survey: Introduction: link to the Part 1 page. See also Part 4b, introduction, which covers some of the same ground using polkas as examples: link to Part 4b. The more than fifty polkas included in this file serve the new survey project’s primary goal, which is to document the large number of compositions with structural cadences that ascend or with large-scale patterns focused on the upper register. For a list of pieces in the published sections of the New Historical Survey essay, as well as those projected to appear in the sections under preparation, see the Index to Ascending Cadence Gestures in Essays Published on the Texas ScholarWorks Platform: Update 2020: link to Index. The next page here gives a simple list of the parts in the New Historical Survey, identifying which have been published. * * * As with several of the more recent essays published in this New Historical Survey series, I am assuming that readers have some familiarity with the repertoire of figures I set forth and the style of commentary I employ. Given these, where the examples seem obvious I may dispense with commentary and in some cases even with score annotations—among the Survey files so far this is especially true of the present file. This approach seems reasonable given that 11 parts of a projected 28 have been published. Parts 2a–2c alone have more than 260 examples, almost all annotated, and even Part 5b, on three 19th and early 20th century hymnals, has more than 60. The number of polkas in Parts 4b, 4b2, and the present file is around 140. The work is important, and I intend to keep at it. New Historical Survey 5d2, p. 5 New Historical Survey (2019– ) Titles in bold italics have been published PART 1 Introduction 2019 PART 2 ———————— to 1650 PART 2a–d: May 2019 PART 2d is an alpha index to 2a–2c PART 2e: addendum October 2019 PART 2f1–3: addenda June 2020 PART 3 ———————— 1650–1780 PART 3a: ~1650–1700 PART 3b: 1700–1780 PART 3c: Resurrection, Ascension, and similar texts PART 3d: Composers whose family names begin with the letter N PART 4 ———————— to 1780–1860 PART 4a1: 1780–1815 PART 4a2: Beethoven PART 4a3: Music for Home, Salon, and Concert PART 4b: polkas from 1840–1860 January 2020 PART 4b2: Polkas from the 1850s June 2021 PART 4c: Other Dances PART 4d: Songs and Hymns PART 4d2: Schubert Songs PART 4e: Music for Stage PART 5 ———————— 1860–1924 PART 5a: Music for the stage—1870–1880; 19th century songs—to 1900; Choral PART 5b: Music in hymnals, 1890–1923 July 2020 PART 5c: Music for the stage—after 1880; Songs from Piedigrotta; Songs—after 1900 PART 5d: Chaminade; Orchestral, 1860–1900; small pieces, 1860–1900; Burchenal, Folk Dances August 2020 PART 5d2: Polkas after 1860 PART 5e: Instrumental music after 1900 New Historical Survey 5d2, p. 6 §1. Various authors, c. 1860 to 1893 Béla Kéler, Ernst Litfass Annoncier Polka, op. 14 (1860c) In the first strain a proto-background of the sixth ^3/^5-below (A5–C5) is transformed already in bar 2 to the third C6–A5. In the second strain, C: ^3 (as E6) is clearly a focal tone, and as a result the entire figure might be called a “sublimated wedge”: ^2 is more than usually lacking, even, in bars 6–7 of the strain, and the lower rising line dominates. I suppose—if I could bring myself to use it—the term could be useful, since the missing ^2 is remarkably common, as we have seen in many examples in the 19th century repertoires, and not only in polkas. New Historical Survey 5d2, p. 7 Béla Kéler, La Rose, polka française, op. 18 (1860c) More clearly defined wedge figures than in the previous example; but the upper voice covers ^5–^4–^3, not ^3–^2–^1. In the trio, a line descending from ^8 ends at ^3—see bars 14–16, while the inner voice of the unfolded intervals has a simple neighbor note figure. Béla Kéler, Wiedersehen Polka, op. 41 (1860c) A clear linear descent from E6 to G5 in bars 1–8 is repeated in bars 9–16, but the cadence is a rising line from ^5 to ^8. The whole, then, is an unusual mirror, not ^8–^5|^5–^8 but ^10–^5|^5–^8. A. E. Blackmar, The Washington Artillery Polka March (1864) New Historical Survey 5d2, p. 9 J. T. Wamelink, The Central Skating Park Polka (1865) From ^5 with an inner-voice ^3 (see arrows). In the trio, an unusual case: ^3 (as G5/G6) is an obvious focal tone but the cadence to bars 1–8 takes a descending line into the middle register (circled F5 in bar 7), while a clear ascent from an otherwise subordinate ^5 moves above— see the arrows in bars 6–8. In bars 9–16, ^3 is the focal tone throughout and the descent is ^2–^1, where an unfolded third F5–D5 is inverted to a sixth and filled with an embellishing line: see bar 15. New Historical Survey 5d2, p. 10 Paul Tulane Wayne, Trolley Polka, (1893) Scale degree ^5 as both A4 and A5. The latter predominates but cedes to the former for a clear ascent in the cadence.