The valse lente was very fashionable in the early 20th century. It was a slow, sentimental waltz, also called a Boston waltz. I am still confused over the precise technical moves of the valse lente or Boston Waltz. What makes it so ‘lente’ or ‘Boston’, still eludes me, though I’ve read more than a few instruction texts. I even dared a few hesitating steps in my boudoir.
I also tried hard, but found no reliable explanation for its name or origin. Different Western regions or continents claim to be the cradle of this wildly popular dance. Some say the Boston waltz is an American, slower and gliding variant of the traditional Viennese waltz. The oldest reference that I could find is a composition by Marie Félicie Clémence de Reiset, Vicomtesse de Grandval. She composed Prélude et Valse Lente in 1885.
According to the composer Clifton Worsley it was he who coined the term Boston waltz.
Clifton Worsley is the pseudonym of the Catalan musician Pere Astort i Ribas. A trained pianist, Pere Astort started working as a clerk at a popular sheet music shop located on the most emblematic street, La Rambla, in Barcelona. This shop then called Can Guàrdia still exists as Casa Beethoven.
In the sheet music shop Pere Astort worked as a song demonstrator (or song plugger) to help sell the sheet music. Patrons could select a title of a song for him to play on the piano, thus getting a first listen before buying.
The story goes that while Astort was playing one of his own compositions, an American musician walked into the shop. Stunned by Astort’s song the visitor told him that the music reminded him of fashionable waltzes from his home town, Boston. The American also suggested to adopt a pseudonym with a more ‘artistic‘ and international resonance. Pere Astort went for the dignified sounding Clifton Worsley nom de plume.
Clifton Worsley had a rival in Theodor Pinet who also claimed to be the Bostonkungen or the Boston King. Pinet was a Swedish composer, with a Belgian father, who used to play at the royal court of Sweden. He introduced the Boston waltz in Sweden around 1902. Clifton Worsley had then already composed his first Boston walz in the late 1890’s. Anyway, Theodor Pinet became a big name in Sweden thanks to the Boston Walz. In 1910 he launched his own music hall: the Boston Palace! According to Sweden’s state archives, the rush to Pinet’s Boston Palace was huge: “Ladies in exquisite toilets, gentlemen in coats and tuxedos, students, little shop girls in blouses and skirts, jacket-clad office workers and demi-mondaines in rustling silk with or without cavalier, all bitten by the Boston fly […]”
In 1900 the French Roi de la Valse Rodolphe Berger composed a valse très lente (a very slow waltz), the hugely successful Amoureuse.
And after Massenet also having written a Valse très lente, Debussy created La plus que lente or ‘the even slower waltz’ in 1910. It was his tongue-in-cheek riposte to the countless lightweight valses lentes that were so successful in the Parisian salons and dance halls. La plus que lente is a charming sentimental waltz with a lot of rubato written for solo piano and arranged for strings.
Debussy mentioned in an interview that he had written La plus que lente for the Hungarian violinist/leader of a gypsy orchestra. He had discovered the ensemble in the newly opened Parisian Carlton Hotel where he regularly went with his wife and friends for the afternoon tea. Who better then, than the Hungarian Antal Zalai to perform La plus que lente …