Precise like a waltz

[ushak gmt]

You do not need to be an expert on musicology or even a conosseur of horologery
to understand the similarity existing between Viennese waltz and the watches.
The waltz is that dance in ternary rhythm, which in each
time, in any musical measure, counts three beats.
Differently from the slowest English waltz, which is indeed played
at 30 beats, the Viennese one counts 60 per minute: this
it means that in 60 seconds there are 60 musical times, that is
180 beats (one-two-three for 60 times). The Viennese waltz
thus marks the perfect synchronous of the flowing of the time.
It's a very simple, essential dance, exactly like
the seconds that pass, that tries to grasp the moments
of life, imprisoning them in the musical vortex that dames
and knights create continuing to turn on themselves, without
never stop, just like clock hands do.

Viennese waltz is one of the only ballroom dances
perfectly symmetrical: lady and knight alternate
same steps, to turn right clockwise and left
counterclockwise. As for the hands, turn right
it is the easiest step for the dancers: it is interrupted for
change towards only to avoid falling stunned. But the
natural movement for dancers is precisely the clockwise.
From a mechanical-anatomical point of view, this dance
it is similar to a spring that is charged and discharged in perpetual, becouse
the dancers roll up, charging, turning left
and unroll, unloading, turning to the right.
The waltz was established in Vienna at the beginning of the 19th century with
Johann Strauss father and his friend, colleague and rival Joseph
Lanner. Its success remains a milestone of the
European culture, thanks to a clever mix of elegance of
dress code, sensitivity of execution, vortex of seduction,
erotic complicity between the two dancers. Viennese waltz
represents above all the eternal dream of combining reason
mathematics with feelings, one of those
cases of human civilization in which reason and feeling want
reach the unison. This search for perfection between
beauty, functionality and rationality is the same that is found
in who designs a timepiece. In light of the similarities that
we have highlighted, can we consider that Strauss
may have been influenced by the ticking of a watch
for the creation of the Viennese waltz? It is an interpretation
suggestive as fascinating. The pocket watches have spread,
before the advent of those from wrist, since the nineteenth century,
so it is plausible that, in this period the clock's beat time has become a common and intimate feeling for man ,
because deriving from a personal instrument held in the
pocket; Strauss just transformed this rhythm in musical measure.

Sorry for uncorrect English, It is an original Italian writing traslated with google