Sometimes called the Mazourka, though generally best known by the name
of its inventor, M. Cellarius, of Paris. It was imported to England in
1845, two years after the introduction of the Polka; and, although
it never attained so great a popularity as its predecessor, it was
favourably received, and much danced in the best circles. Still it
failed to achieve the decided success which might have been reasonably
expected from its elegance and beauty. Perhaps one reason of this
disappointing result was that many inefficient performers attempted
to dance it before they had mastered its somewhat difficult step, and
brought it into disrepute by their ungraceful exhibitions. But
the grand secret of its partial failure lay in the mania for rapid
whirling dances, introduced by the Polka. While the rage for "fast
dancing" continued, the measured grace of the Cellarius stood no
chance. Now that it has at last happily abated, people are better
prepared to appreciate the refined and quiet charm of this really
beautiful valse. To dance it well requires some practice; and
particular attention must be paid to the carriage and position of
the figure, since no dance is more thoroughly spoiled by an awkward,
stiff, or stooping attitude.
We proceed to describe the step, so far as it may be possible to do
so in words; but we have an uneasy consciousness that all such
descriptions bear a close resemblance to those contained in certain
little volumes designed to instruct our fair readers in the mysteries
of knitting, netting, and crochet. "Slip two, miss one, bring one
forward," &c., may convey to the mind of the initiated a distinct idea
of the pattern of a collar; but are hardly satisfactory guides to the
step of a valse. We must, however, do our best; though again we would
impress upon the reader the necessity of seeking further instruction
from a professor or experienced friend.
The time of the Cellarius Valse is 3/4, like the common valse; but it
should be played much more slowly; if danced quickly, it becomes an
unmeaning succession of hops, and its graceful character is destroyed.
We describe the step as danced by the lady; for the gentleman it will
be the same, with the feet reversed; that is, for right foot read
left, and so on.
First Step.
_1st and 2nd beat_.--Spring on left foot, sliding forward right foot
at the same time, and immediately let your weight rest on the forward
foot. This occupies two beats.
_3rd beat_.--Spring on right foot; this ends the bar.
_2nd bar, 1st and 2nd beat_.--Spring again on right foot, and slide
forward left at same time. Rest on it a moment as before during second
beat; at third beat spring on it; which ends second bar. Continue same
step throughout. You will perceive that, at the first and third beat
of the time, you hop slightly, resting, during the second beat, on the
foremost foot.
Second Step.
_1st beat_.--Spring on left foot, slightly striking both heels
together.
_2nd beat_.--Slide right foot to the right, bending the knee.
_3rd beat_.--Bring left foot up to right foot with a slight spring,
raising right foot; which ends the first bar.
_2nd bar, 1st beat_.--Spring again on left foot, striking it with heel
of right.
_2nd beat_.--Slide right foot to the right.
_3rd beat_.--Fall on right foot, raising left foot behind it, which
ends the second bar. Reverse the step by springing first on the right
foot, and sliding the left, &c. The music generally indicates that
this step should be repeated three times to the right, which occupies
three bars; then _rest_, during the fourth bar, and return with
reverse step to the left during the three bars which follow, resting
again at the eighth bar.