4. Boston 3/4

"Boston" is a type of waltz that emerged in American ballroom dance in the late 1860s and subsequently spread to England. It is a dance form that includes various steps, and after World War I, it gained popularity in Germany as the "English Waltz."

An unbalanced rondo form.

A: Measures 1-22 "Tempo rubato"

• The opening two-measure introduction features an open fifth on C-sharp, struck twice at ppp (the appoggiatura is also an open fifth).
• While characterized by an elusive, sentimental melody, ornamentation, dotted rhythms (e.g., mm. 4, 8), and syncopation (e.g., mm. 19-20) are also effectively employed.
• Furthermore, hemiola, a characteristic feature of the Boston, appears in the left-hand accompaniment (mm. 15-18), forming a polyrhythm with the right hand's triple meter.

B: Measures 23-64 "Allegro"

• The music transitions from the p-dominated, fluid A section to the f B section, where motivic repetition is prominent.
• The music develops through the repetition of a four-note motif, which includes the ornamentation from measure 4.
• While the right hand's descending figure, originating from this motif, is varied and repeated, the left-hand accompaniment forms a hemiola (mm. 23-38).
• From measure 39, there is an indication "Langsames Walzertempo" (at a slow waltz tempo), but the aforementioned four-note motif is consistently repeated.
• Similar to section A, ornamentation, dotted rhythms, and syncopation are employed.

B': Measures 65-93

• Section B is repeated in a shortened form, transposed down by a whole step.

A': Measures 94-115 "Tempo primo"

• Measures 5-18 of section A are recapitulated (including the repetition of the same figure from measure 108 onwards).

C: Measures 116-163

• The opening two-measure introduction is extended to four measures and transitionally reused (mm. 116-119, 127-130, 138-141).
• At measure 120, there is an indication "Recitativisch, sehr rubato" (recitative-like, very rubato), and while ff and ppp alternate, syncopation (e.g., mm. 121-122, 142-143) and hemiola (e.g., mm. 123-124) are employed.
• From measure 152, the 11 measures from measure 120 onwards are recapitulated in octave figures (the upper voice is two octaves higher).

A'': Measures 164-183 "Tempo primo"

• Measures 3-18 of section A are recapitulated (mm. 164-179).
• Measures 178-179 are repeated three times.

Codetta: Measures 184-203

• The meter is obscured by syncopation, and the music gradually stagnates from f to ppp.
• From measure 200 onwards, the opening two-measure introduction of section A is recapitulated, concluding with the open fifth prominently fading out.