Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Usually described as a rondo, the Allegro vivace is actually a complex construction including three waltzes, each with its main and subsidiary themes. The main theme is the vigorous upward arpeggio that plunges the dancers into the first waltz, which also includes a more gentle idea with mazurka-like displaced rhythmic accents and, before the return of the main theme, an episode of keyboard bravura. Both the second waltz, beginning with a delightful rocking melody picked out on the first beat of each bar, and the third waltz, based on a minor-key variant of the main theme, are shorter than the first but no less tuneful. Surprisingly, the one passage of development is devoted to the second theme of the opening waltz now without its mazurka accents rather than the main theme—which is being held in reserve for an exhilarating recapitulation and a brilliant coda. The end of the waltz is not quite the end of the piece: in the Moderato closing bars the dancers exchange parting compliments with a nice appreciation of musical as well as social form. Das Allegro vivace, das sonst oft als Rondo beschrieben wird, ist in Wirklichkeit eine komplexe Konstruktion mit drei Walzern, die jeweils Haupt- und Nebenthemen haben.
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Invitation to the Dance Aufforderung zum Tanz [a] , Op. It is also well known in the orchestration by Hector Berlioz. It is sometimes called Invitation to the Waltz , but this is a mistranslation of the original. Weber dedicated Invitation to the Dance to his wife Caroline they had been married only a few months. It was the first concert waltz to be written: that is, the first work in waltz form meant for listening rather than for dancing. It was also the first piece that, rather than being a tune for the dancers to dance to or a piece of abstract music, was a programmatic description of the dancers themselves.